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
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
18 November 2017 – 28 January 2018, The Renaissance Society, Chicago
The Renaissance Society presents Alejandro Cesarco, Song, featuring newly commissioned works alongside recent projects. Including video and prints, this poetic installation suggests themes of duration, refusal, repetition, and affective forms.
As an exhibition, Song carries a particular tempo, closer to the time of reading than the time of looking. Cesarco creates rhythm in his work by incorporating silences and withholdings: here the moving image works are presented sequentially, gently introducing a pace and flow to the installation and immersing the viewer in an aesthetic that the artist has elsewhere characterized as “muted melodrama.” In doing so, Cesarco begins to reveal how the works’ emotions lay in their tone, and in the particular mode of attention that they demand.
This presentation, as in the artist’s broader practice, represents a sustained investigation into time, memory, and how meaning is perceived. Sometimes romantic, other times melancholic, his works evince a deep engagement with the histories and aesthetics of conceptual art. Many of Cesarco’s artistic strategies point to the influence of a “personal canon” drawn from other art forms— literature, cinema, music, for example. In them, he locates not only structural and conceptual methodologies, but also a depth of feeling and acute sense of style.
At the heart of the exhibition are two related video works: the first chapter of the artist’s 2008 video, Everness, which features an actor reciting a monologue, written by Cesarco, on the meaning of tragedy; and Revision, a new remake of this chapter with the same actor, now almost a decade later. The principal difference between the two is a linguistic shift from present to past tense. The presentation of these videos together invites close reflection on the passage of time, the demands on productivity, the potentials of re-reading, and the contingencies of meaning.
Other pieces in Song similarly allude to moments of regret and hope, possibilities both past and future. A new series of prints, Vanitas (From Remorse to Regret) (2017), depict different tropes of the still life genre. A third moving image work, Interlude (2016), is a quietly impressionistic and tender portrait of the fleetingness and involuntary nature of memory. In The Dreams I’ve Left Behind (2015), time and space are revisited as the artist screenprints a faint image of the wall behind his own bed directly onto the wall of the gallery.
A catalogue will be published in Spring 2018 with new texts from Julie Ault, Wayne Koestenbaum, Lynne Tillman, and others.
Curated by Solveig Øvstebø.
Alejandro Cesarco, Song, is supported by the Chicago Committee of the Renaissance Society.