Through a small white door sat within a large double-height wall, white gloss painted walls hang and fold down into a space punctuated by three small black gloss coated doors. Tonal sound fills the space in pockets and holes that shift and move. Directly opposite are two prefabricated white metal panels filled with polyurethane and secured with bolts via white powder-coated metal brackets into the concrete floor. Both panels contain a small fixed double-glazed window with vents and a double plug power supply that run, with white coated electrical cable, to double sockets fixed to the gloss painted wall. On the back of the panel on the left, mounted low and close, is a large monitor screen running a video file from a small concealed media player, the cables of which are held together with a combination of cable ties and an unlocked heart shaped padlock. To power this equipment a long white lead folds around to reach the power source of the panel on the right. The sockets of the panel on the left remains unused and covered. Mounted to the left of these panels are two tall long black speakers, a bit too close together, from which emits the aforementioned low sounds. To the right, a row of forty ceramic objects with black text printed on them are wrapped in pairs in an abundance of red heart and clear cellophane with a combination of oversized pull bows and light pink and red curled ribbon that sits, entrail-like, at the base of each object. At the end of this line, a further smaller solitary prefabricated white panel filled with polyurethane and secured with bolts via white powder-coated metal brackets to the concrete floor. This panel has no power supply running to it. Fixed to it a small white powder-coated and wall mounted heater powered by a single small, dark grey and lime green box with digital display also powering a small ceramic pink, white and green house-shaped object containing a light bulb. At right angles to this are three more prefabricated white metal panels filled with polyurethane and secured with bolts via white powder-coated metal brackets to the concrete floor. Each panel contains one single plug power supply that runs with white coated electrical cable to a double socket and adaptor fixed to the gloss painted wall. Two of these panels have small black plastic moulded lanterns attached to them, the white coated cables for which run to the plug points of another. Hung low besides the small black gloss entry door is a grey metal security box with security fittings, inside sits a battery powered tablet displaying a scrollable PDF file containing 272 close-cropped images taken over the years, 2017, 2018, 2019 inclusive.
Chisenhale Gallery presents CONSTITUTION, a new commission by Ghislaine Leung. Working with sound, light, scale and temperature this exhibition builds on Leung’s ongoing enquiry into withdrawal and dependency. What is at stake in forms of cancellation, what are the interdependencies, complicities and reliances of how this act is not only produced, but constituted?
As part of the commissioning process, a series of discursive events has been programmed in collaboration with Leung and runs throughout her exhibition. Leung’s exhibition commences Chisenhale Gallery’s Commissions Programme for 2019, which includes new commissions by artists Mandy El-Sayegh, Ima-Abasi Okon and Sidsel Meineche Hansen. Through her work, Leung contributes to new discourses on institutional critique, exploring issues related to labour and value, themes that recur throughout Chisenhale Gallery’s programme for 2019.
Ghislaine Leung (b. 1980, Stockholm, Sweden) lives and works in London, UK. Recent projects include: October 12 – November 25, 2018, FRI ART, Fribourg; LABOUR, Schleuse, Vienna; VIOLETS, Netwerk, Aalst; Local Studies, Reading International, Reading; Acoustic Holographic Language, Bureau des Réalités, Brussels; Five Sculptures, ESSEX STREET, New York City (all 2018); The Moves, Cell Project Space, London (2017); 078746844, WIELS, Brussels (2016). Leung is a member of PUBLIKATIONEN + EDITIONEN. Her first collection of writings Partners was published by Cell Project Space in 2018 and her second publication with Divided is forthcoming in 2019. Forthcoming solo exhibitions include: ESSEX STREET, New York; and Künstlerhaus Stuttgart (both 2019).
CONSTITUTION is commissioned and produced by Chisenhale Gallery, London with additional production support by EMPAC, The Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute through their artist in residence programme.
Lead Supporter: Shane Akeroyd.
Ghislaine Leung’s commission is produced with support from the Chisenhale Gallery Commissions Fund. Leung’s exhibition at Chisenhale Gallery is supported by Arts Council National Lottery Project Grants; Joe and Marie Donnelly; and Alice Rawsthorn. With additional support from the Ghislaine Leung Supporters’ Circle and ESSEX STREET, New York.
Chisenhale Gallery’s Commissions Programme 2017–19 is supported by the Luma Foundation.
Chisenhale Gallery’s Curatorial Trainee Programme is supported by Sirine and Ahmad Abu Ghazaleh.
Chisenhale Gallery’s Talks and Events Programme 2019 is supported by Brian Boylan and forms part of Chisenhale Gallery’s Engagement Programme. With additional support from the Engagement Programme Supporters’ Circle.
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