Matthew Krishanu ‘Arrow and Pulpit’ 6 November – 17 December 2021 Kurfürstenstraße 24/25, Berlin
A picture stuck in the mirror
Henry Art Gallery, University of Washington, Seattle
16 October 2021 – 6 March 2022
Moravian Gallery, Brno
Teatro San Martín, Buenos Aires
University of Kentucky Art Museum, Lexington, Kentucky
10 August – 11 December 2021
Garage Exchange: Aleksandra Domanović and Jen Liu
The MAK Center: Mackey Garage Top Gallery, Los Angeles
21 October 2021 – 9 January 2022
Yesterday we said tomorrow
Prospect 5 Triennial, New Orleans
23 October 2021 – 23 January 2022
Pictured as a Poem
KAI10 Arthena Foundation, Düsseldorf
17 October 2021 – 23 January 2022
One Escape at a Time
11th Seoul Mediacity Biennale, Seoul
8 September – 21 November 2021
Appui, tendu, renversé
CRAC Occitanie in Sète, France
9 October 2021 – 6 February 2022
John Smith, solo exhibition
Kunstmuseum Kloster Unser Lieben Frauen, Magdeburg, Germany
A Manual for Retaining Light in Dark Ages
Museum Abteiberg, Mönchengladbach
20 March – 25 September 2022
Tanya Leighton, Berlin, established in 2008, is dedicated to developing a cross-disciplinary, trans-generational gallery programme with off-site projects, in collaboration with artists, filmmakers, critics, art historians, and curators. Its international exhibition programme reflects a variety of opinions and practices as well as Leighton’s associations with American and British experimental cinema, artist’s film and video, performance, minimal and conceptual art.
Director: Vanessa Boni
Associate Director: Simon Gowing
Gallery Manager: Melanie Isabel García
Registrar: Henry Babbage
Finance Manager: Stefan Schuster
Gallery Assistant: Roberta Cotterli
Tanya Leighton Berlin
Kurfürstenstraße 156 & 24/25
Berlin 10785 DE
Tanya Leighton Los Angeles
4654 W Washington Blvd
LA 90016 CA
Open Tuesday – Saturday
11am – 6pm and by appointment
22 June – 26 August 2017, PEER, London
Jimmy Robert’s restrained yet expanded use of photography, movement, text and subtle architectural intervention discreetly interrogates ideas of inclusion and exclusion, belonging and identity, intimacy and distance. For PEER, Robert presents a new performance work and gallery installation in response to issues that have emerged from Britain’s vote to leave the European Union. Robert’s new commission, European Portraits, is timed to mark the first anniversary of the Brexit vote, and obliquely probes some of the complexities and consequences of this result – both personal and political – that have emerged in the past year.
Robert’s project begins with three consecutive evenings of performance in the gallery space, the focal point of which is the substantial doorway and entry/exit point that conjoins the two rooms. Both vertical sides of the opening have been clad in mirrors creating a mise-en-abyme – or literally, ‘to place into abyss’. The audience is split between the two spaces, enabling a multiplicity of viewing angles and positions. Robert moves within and through this constricted space of both transience and infinity while handling the drapes and folds of a large-scale fabric-printed image from a 16th century Bronzino portrait. Both divided groups view the performance from different perspectives – not visible to one another yet witnessing the same event. On the walls of the two galleries are a series of short text works, written by the artist over a number of years as intimate portraits of eight individuals.
These elements are brought together with a sound work, composed by artist Ain Bailey, with whom Robert has previously collaborated. Her composition will be structured around voice recordings of the wall texts, but focusing on the moments of breathing between the words, ‘giving materiality to absence’. This recorded element will be layered by Robert’s ‘live’ breathing, as a kind of call-and-response arrangement often used in the French West-Indian tradition of dancer and drummer in dialogue, and culminating in just the artist’s breath manifest in the space. Following the performances, the audio and visual elements of European Portraits will be presented as a gallery installation, while a film of the live event is available to view on PEER’s website from early July.
This exhibition is a product of Robert’s multidisciplinary practice that combines a range of lens-based media with other elements such as drawing, choreography and text. Robert breaks down divisions between two and three dimensions, as well as image and object through the manipulation of material. Robert will also show a work that has evolved from found photographs that have been torn, collaged and then scanned before presented as a work that oscillates between image and object.
Key to this specific presentation at PEER is Robert’s interest in exploring the potential to present public-facing projects via the large glass façade onto the high street. The economic, social and cultural diversity of the local area is in many ways representative of the kind of society that Brexit is determined to eliminate. And it is with those incidental passers-by, as well as with gallery visitors, that Robert’s project aims to communicate.