Antonio Ballester Moreno ‘ANOTHER DAY’ 1 February – 12 March 2022 4654 W Washington Blvd, LA
Felix Los Angeles 17 – 20 February 2022 Hollywood Roosevelt Hotel, LA
Hiroka Yamashita 12 March – 23 April 2022 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
Kunstverein für die Rheinlande und Westfalen, Düsseldorf
12 February – 24 April 2022
Fondazione Sandretto Re Rebaudengo, Turin
5 November 2021 – 30 January 2022
Yesterday we said tomorrow
Prospect 5 Triennial, New Orleans
23 October 2021 – 23 January 2022
The Beauty of Early Life
ZKM Center for Art and Media, Karlsruhe
26 March – 10 July 2022
Tanya Leighton, Berlin
30 April – 25 June 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
Associate Director, Los Angeles: Andrew McNeely
Associate Director, Berlin: Melanie Isabel García
Registrar and Exhibition Manager: Adina Laub
Gallery Manager: Clelia Colantonio
Finance Manager: Andrea Núñez
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
Open Wednesday – Saturday
11am–6pm and by appointment
My family is unique in that my parents choose to express themselves to a larger audience. Glimpsed from the outside, big personalities appear to coexist amicably. Within our home, however, there is conflict and chaos that only we see, a pattern of stress that continues and intersects as we all contribute.
The most easily noted family member is my father. Confidently eccentric, he fills up all of the empty space in a room. Whether he’s laughing, yelling, or playing music, there is always noise to be heard around him. You would never guess by his flamboyant persona that he spends all day sitting behind a computer screen making music. His projects are complex and his creations can become even more experimental than his outfits. Sometimes the amount of software running is too much and a glitch erases weeks of work. In these situations my father demonstrates extreme patience and rebuilds.
My younger sister seems to aspire to take up just as much space as my father. Her emotions are a tornado that all of us are swept up in. Dance allows Agnes some focus and structure as well as a chance for her to be in the spotlight, but she doesn’t need a stage for that. Agnes’ presence has the same effect on her peers as a pinata breaking at a birthday. Her personality is magnetic, and being friends with her guarantees that she will become your favourite person. She naturally leads any group, taking them through the Candyland that springs up around her.
In our group, I am seen as the opposite of that. My family associates me with all the stereotypical traits of a teenager: moody, reclusive and antisocial. They talk about how I’m always holed up in my dark cave of a bedroom and they reminisce about a time when I was younger and around them more. A time when my mother would sit me down every morning and help me braid my hair. I see myself in some ways as a reflection of my mother. We deal with our emotions in a very similar way and seeing that allows me to reflect upon myself.
My mother, Elizabeth, is easygoing and kind. She is the one who taught Agnes her sensitivity. My mother carries the weight of providing for all of us. We rely on her self expression, so we rely on her sensitivity. She is emotional in a different way from Agnes. My mother tries to shield us all from seeing that side of her. Her stress builds in layers of walls between her and us until she has no choice but to open up. These moments are rare but the tension that she carries is visible; she’s the stability in our household, so it rests on us all.
At times it seems like our family has too many contradicting ideas and individual problems to function properly as a unit. Instead we feed into each other’s issues, creating a cycle of turbulence. We are jarringly different and almost ill- fitting. Our clashing personalities push against each other, changing shape like waves against cliffs. But we are able to coexist and survive by working together. Each of us is learning each other's strengths and weaknesses, figuring out ways to make up for past distance. Somehow, in this pandemic we have found a way to grow more than ever. We are unlearning bad habits, changing old patterns and trying to rewire our instinctual treatment of one another. Slowly, the explosions are less and less, and we deal with these occasional bumps through our changed perspectives.
– Chlose McIntosh Murray
8 June – 10 July 2021, Tanya Leighton Los Angeles 4654 W Washington Blvd
Preview: Saturday 5 June, 5–8pm
As a friend of the family, I was brought into conversation with this exhibition via editing Chlose McIntosh Murray’s textual portrait of herself, her mother, father, younger sister and their collective dynamic. Especially while the intimacy of a family unit—as impacted by this global pandemic—is stressed by its current parameters of restriction and confinement, McIntosh Murray displays, at 17, considerable vulnerability by committing to writing that illuminates those emotional bonds. She also joins her parents in engaging with publicness. Speaking to the circumstances in which this exhibition has been generated, her text can be read as a stand-alone marker of a moment on a family timeline, as well as a demonstration of what is being held, sacrificed and carried through the life of a young woman whose mother is also an artist.
Derived from a series of modest digital and manual techniques of collage, McIntosh’s paintings have long been exceptional in the enigmatic ways they isolate, magnify and distort their fragmentary sources. In her newest canvases, most of her legible subject matter—typically rendered into sticker-like icons and clone-stamped clods—appears heavily sifted, as through a variety of gauges of mesh, or otherwise dissolved and peeled back to bare recognition. The granular mark used in these new works for ‘Family’ both constitutes and perforates the images, generating moments of perceptual disquiet in their ambiguous narrative atmospheres.
While McIntosh’s previous paintings are characterised by confident colour and strong, stable lines, this work carries a host of comparatively detailed transparencies, layers and lattices. In one painting where her familiar boldness is at play, the windows, doors and roof of a house are cut away, revealing an inverted ocean landscape. In another, a set of doors is delineated with cartoon simplicity and opens onto a vast pink field of scintillating marks, suggesting aimless paths, a sudden burst of bird flight, or a tornado of leaves. This framing repeats itself on a canvas in soft yellows, where doors read instead as window screens flanked with patterned curtain cloth, and a swiftly applied decorative motif leads to a horizon line constituted of the same floral grid. Here and in a painting largely filled with the overlapping diamonds of a chain-link fence, visual distortions are deepening the shallow pictorial space; overlapping sections of pattern multiply, and cutaways reveal near-identical images behind them—a visual effect that is part moire, part erasure.
In painterly logic, what is erased not only leaves a formal space for entry or exit; it is sometimes felt as a rupture in the image’s overall cohesion. Meanwhile, McIntosh’s themes have become more notably emblematic of family ties. The personal domicile, already an image of significant emotional import, has recently been renewed as the fundamental location of our respective sense of health and safety during isolation and quarantine. According to the Jungian take, the theme of the house is a projective one, allegorically complete with one’s culture, family of origin and deepest personal motivation held within its walls—or lack thereof. Any alteration of this psychic image can then be understood in relation to these constituent parts of the self. If a coherent image of ‘Family’ does emerge, it is brokered by the presence of one outlier painting: the resolutely simple profile of Chlose—McIntosh’s elder daughter—outlined in black and white and showing a faint smile.