Antonio Ballester Moreno
12 March – 17 April 2021
Aleksandra Domanović 27 April – 5 June 2021
Christine Roland and Kara Hamilton
At Kurfürstenstraße 156
A picture stuck in the mirror
Henry Art Gallery, University of Washington, Seattle
Fall 2021 – Winter 2022
Publication: World of Art: Contemporary Painting
Suzanne Hudson, published by Thames & Hudson (forthcoming)
Olomouc Triennale 2021: Universum, curated by Gina Renotiére and Barbora Kundračíková
Olomouc, Czech Republic
24 June 2021 – 2 January 2022
Moravian Gallery, Brno
ANTS AND GRASSHOPPERS: reflections on the anxious object, curated by David Thorp
Flat Time House, London
Diversity United. Contemporary European Art
Flughafen Tempelhof, Berlin | Tretyakov Gallery, Moscow | Palais de Tokyo, Paris
Spring – Fall 2021
Tanya Leighton, Berlin
1 May – 5 June 2021
British Art Show Exhibition Tour
HOME; Manchester Art Gallery; Castlefield Gallery; The Whitworth and the Centre for Chinese Contemporary Art (CFCCA), Manchester
6 May – 4 September 2022
British Art Show Exhibition Tour
The Box; K ARST; The Arts Institute’s Levinsky Gallery and The Gallery at Plymouth College of Art, Plymouth
6 November 2021 – 13 March 2022
British Art Show Exhibition Tour
Aberdeen Art Gallery, Aberdeen
3 July – 3 October 2021
Tanya Leighton, Berlin
11 June – 17 July 2021
Le Regard Luisant with Sara Knowland, curated by Vincent Vanden Bogaard
11 March – 30 April 2021
Akimbo Exhibition Tour
CRAC Occitanie in Sète, Spring 2021
Museion, Bolzano, Italy, Summer 2021
Masculinities: Liberation through Photography
Barbican Centre, London; Luma Foundation, Arles, and Martin Gropius Bau, Berlin
Tanya Leighton Gallery, 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 GmbH
Kurfürstenstraße 156 & 24/25
Open Tuesday – Saturday
11am – 6pm and by appointment
After 10 years of Art Basel Miami Beach, as the fair shifts to occupy the digital realm, we are excited to present an expanded online viewing space to feature and contextualise works we would have shown on our booth at the fair had the world been different today. These works, by a selection of the gallery’s artists, each reflect on our current and highly unusual situation as well as exceptional recent social and political events.
‘We Must Act’, instructs Sharon Hayes’ painted banner, whose title and content speak so eloquently to the current moment. The work holds an omission at its very centre – a space where the absence of the word ‘Women’ is outlined in faint pencil – ‘we [women] must act’. In a similar way, Kate Mosher Hall’s paintings use these gaps and voids in composition – torn curtains or Venetian blinds – to represent that which is framed by these absences.
At once ominous and playful, Elizabeth McIntosh’s painting entitled ‘Pattern’ is also broken open to reveal the blank white space beneath, like a relief between storm clouds. Her second work, ‘Elements’, explores the many ways that we longingly represent the sun in these dark days, using Bruno Munari as her guide. Antonio Ballester Moreno thrives in these differences, asserting that his paintings of suns are never the same. After all, it is always a different sun that we look at every day.
Jimmy Roberts’ new sculpture complicates the distinctions between image and space, revealing a contorted figure captured within a paper sculpture. The artwork engages and seeks to dissolve socially defined or culturally inscribed identities. Similarly, Esteban Jefferson’s ongoing consideration of the collection shown by the Petit Palais museum in Paris reflects on race, identity and the legacies of colonialism, questioning how institutions process uncomfortable histories.
'What messages might we already leave for the archaeologists of the future from their ancient past, before the doors to the future close?’ asks Studio For Propositional Cinema’s manifesto. Their off-set printing plate works echo Hayes’s initial call to action, adding an important caveat for consideration – 'IF THERE IS STILL ENOUGH TIME TO DO SO’.
But as Elif Saydam says of their contemplative Ottoman miniatures, there is the reassuring voice of hope and reflection in even the midst of the wildest tempest. In the end, this too shall pass, they say. But when it does, and the sky clears, “What kind of a world do we want to live in? And how do we want to live in it?”
To navigate the Viewing Room please use either your left and right arrow keys, or click to advance.
Antonio Ballester Moreno
Ballester Moreno curated part of the 33rd Bienal de São Paulo in 2019. Selected solo exhibitions include Zapoan Art Museum, Jalisco, Mexico; Joeng Song Art Center / RMK International Art, Seoul; MUSAC, León; and most recently at La Casa Encendida, Madrid, where his presentation was accompanied by his first comprehensive monograph ‘¡Vivan los campos libres de España!’. His works are part of numerous renowned public and private collections in Spain and Europe, including the Museo Nacional Centro de Arte Reina Sofía, Madrid; Helga de Alvear Collection, Cáceres; Banco de España Collection, Madrid; Museo de Arte Contemporáneo de Castilla, Léon; Olbricht Collection, Berlin; and CA2M - Centro de Arte Dos de Mayo, Móstoles.
His first solo exhibition at Tanya Leighton, Berlin will open on 5 March 2021.
Things unfold in cycles. Everything flows. After winter comes spring, after spring, summer, and after summer, autumn. Everything is in constant motion, and human beings, as an integral part of nature, are caught up in that motion. It’s impossible to deny that human beings and the natural world constitute one and the same unit.
–Antonio Ballester Moreno
Sharon Hayes is one of the most influential politically and socially committed artists working in the United States. She uses photography, film, video, sound, and performance to examine the intersection between the personal and the political. An established line of enquiry throughout her multi-disciplinary practice is the transformative power of language. Hayes pays particular attention to the language of 20th-century protest groups, investigating the history and construction of collective subject formation.
She has been the subject of retrospectives at the Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; and Moderna Museet, Stockholm. Hayes’ work is part of the public collections of Tate, London; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Dallas Museum of Art; San Francisco Museum of Modern Art; Kunstmuseum St. Gallen; Museum of Modern Art Warsaw, Warsaw; among many others.
Hayes lives and works in Philadelphia, where she holds the position of Associate Professor of Fine Arts at the University of Pennsylvania.
‘We Women Must Act’ holds a very palpable negative space between the ‘we’ and the ‘must’ that in the original slogan held the word ‘women’. What I'm interested in by removing that word, but also leaving the space that it held, is to continue to hold open the question of what it means to organise around that identity.
Jefferson’s debut solo exhibition in New York, ‘Petit Palais’ took place at White Columns in 2019. Selected group exhibitions include ‘Vernacular Interior’ at Hales Gallery, New York; ‘1989-2019’ at Chinatown Soup, New York; ‘Material Witness Witness Material’ at the Knockdown Center, New York; and ‘Black Blooded’ at The New Gallery, Charlotte.
In 2020, Jefferson was commissioned by New York Public Art Fund to make a new work for their ‘Art on the Grid’ project, which was exhibited at transit hubs throughout the city. He will participate in the forthcoming Triennale ‘Estamos Bien’ at Museo del Barrio, New York in 2021.
Esteban Jefferson's first solo exhibition in Europe is currently on view at Tanya Leighton, Berlin. ‘Petit Palais’ runs until 15 December at Kurfürstenstraße 24/25. An exhibition of Jefferson's drawings is planned to take place in Los Angeles in July 2021.
I’m interested in how we culturally deal with history, especially uncomfortable histories. In the US there is a long-running debate about what to do with confederate monuments. Do we destroy them and build something new? Do we add overt historical context to them, but leave them intact? Do we remove them but leave their bases standing, as a reminder that they were once there? I think the Petit Palais works get at these same questions.
Elizabeth McIntosh is a professor at Emily Carr University of Art and Design. Recent solo exhibitions include ‘Show Up’ at Oakville Galleries, Toronto; ‘Mom or Mother’ at Catriona Jeffries, Vancouver; CANADA, New York; and the Vancouver Art Gallery. McIntosh has received numerous awards, public commissions and grants, including most recently the Fogo Island Artist Residency. Her work is held in the collections of the National Gallery of Canada, Ottawa; Art Gallery of Ontario, Toronto; and Musée d’art contemporain de Montréal, among others.
Elizabeth McIntosh’s next solo exhibition with Tanya Leighton will take place in Los Angeles in May 2021.
Elizabeth McIntosh has developed a rich and complex body of work over the past two decades, which provokes looking by resisting easy answers and always pushing for the unfamiliar and new.
–Frances Loeffler Curator, Oakville Galleries, Toronto
Kate Mosher Hall
Mosher Hall graduated from her MFA at UCLA in 2020. Selected solo and two-person exhibitions include Hannah Hoffman, Los Angeles (forthcoming); LOQK, Los Angeles; Phil Gallery, Los Angeles; Permanently Closed, Los Angeles; 67 Ludlow, New York; and Central Park Gallery, Los Angeles.
Kate Mosher Hall will present her first solo exhibition at Tanya Leighton, Berlin in early September 2021.
The story [in the curtain paintings] is fragmented as it only appears through the holes. Formally, the holes seen together become a constellation or a connect the dots game. The void of the black curtain becomes a psychological space where the viewer navigates between parts.
The threshold of the two parts (foreground/background, presence/absence) creates a potential for new configurations of relationships, creating a liminal space for the viewer to witness.
–Kate Mosher Hall
Like in the curtain paintings, my newest work, ‘The Feeling of Being Looked At’ comes from a study that my partner has been interested in for many years — the psychological phenomenon which is a person's ability to sense when they are being looked at.
Up close the image is hard and almost impossible to see. Yet we see the lines and the way the paint sits on the surface of the painting. It’s more of an observation of the material and the details of how the paint performs. As the viewer moves away from the painting the image becomes more and more clear, it’s many dogs looking through the window. This perspective shift that occurs is activated by the viewer's movement and proximity to the painting.
–Kate Mosher Hall
Jimmy Robert’s multidisciplinary practice encompasses performance, photography, film and collage, frequently collapsing distinctions between these mediums. Robert's interest in how the body can be personified through materials and the reverse is a force that integrates his longtime work with performance with his larger practice.
His mid-career survey exhibition, ‘Akimbo’, is currently on view at Nottingham Contemporary gallery in the UK. Next year, the exhibition will travel to CRAC Occitanie, Sète in spring and to Museion, Bolzano in summer 2021. ‘Tobacco Flower’, his new commission for Glasgow International festival, will open at The Hunterian in summer 2021. Recent solo exhibitions and performances include Leopold Hoesch Museum, Düren; David Roberts Art Foundation, London; KW Institute for Contemporary Art, Berlin; Performa 17, New York; CAC - La Synagogue De Delme, France; Migros Museum für Gegenwartskunst, Zurich; and Museum M, Leuven.
Jimmy Robert’s next solo exhibition at Tanya Leighton, Berlin will open in July 2021.
Robert’s work often explores the intersections between art history and subjectivity, informed by his experience as a queer black person who grew up in a colonial territory, Guadeloupe, and then in the colonial power, France. Robert deploys myriad quotations and allusions throughout his work, creating a layered set of reflections mirrored across time, place and identities.
–Nicole Yip Curator, Nottingham Contemporary
Elif Saydam received their Meisterschüler in the class of Monika Baer/Amy Sillman from Städelschule, Frankfurt. In 2021, Saydam will present their first solo institutional exhibition in Europe at the Kunstverein Harburger Bahnhof in Hamburg. Recent solo exhibitions include Mélange, Cologne; stadium, Berlin; Franz Kaka, Toronto.
Saydam is an active participant in various collaborative publishing projects and their visual practice draws vividly from their own texts and performances.
‘Gut feeling’, Elif Saydam’s first solo exhibition with Tanya Leighton, Berlin, just came to a close in mid-November.
I started painting this one motif from a 16th-century Ottoman miniature, a golden tower signifying opulence, prosperity. For many years I've been gilding works in the ways of the old masters. It started as a kind of joke. But there was something in that gesture that packs a punch for me still.
The project of Studio for Propositional Cinema occupies a singular position within contemporary art. Its collective, interpretative, conceptual form proposes itself as cinema – a cinema of praxis, provisional, dialogical, that must be engaged with and continuously transformed in order to stay alive.
–Chrissie Iles Curator, Whitney Museum of American Art, New York
Studio for Propositional Cinema
Studio for Propositional Cinema was founded in 2013 with a public call to action. Through language, actions, sounds, and images, through production, publication, exhibition, and fictions, they seek to reconfigure culture from a network of ideological formations into a dialogue of hypothetical gestures.
Recent solo exhibitions include Fondazione Morra Greco, Naples; Kunsthalle St. Gallen; Kestner Gesellschaft, Hannover; Swiss Institute, New York. In spring 2022 Studio for Propositional Cinema will present a solo exhibition at Museum Abteiburg, Monchengladbach.