Ghislaine Leung
PORTRAITS, Museum Abteiberg, Mönchengladbach, Germany, 2021
Installation view
Ghislaine Leung
Browns, 2021
Score: All available walls in brown to standard picture hanging height
Browns consists of all available exhibition walls thinly painted brown. The height of the painted surface is standard picture hanging height, 1.50 meters, and is always measured from the floor level directly. Staircases are measured from the top level going down. The artist’s instruction applies to all walls made available by the museum administration. The walls were chosen based on their availability at the time of the project rather than on their placement in the building. Since the museum’s design wasn’t based on a distinction between spaces for temporary exhibitions and permanent collection, Browns inevitably bleeds through the institution encountering other works. Some walls, such as the ones occupied by the permanent installations by Lawrence Weiner and Michelangelo Pistoletto, were not made available for conservation reasons. On some occasions Browns was able to continue through the collection and was allowed to expand between works from the collection, such as by Isa Genzken and Joseph Beuys.
PORTRAITS, Museum Abteiberg, Mönchengladbach, Germany, 2021
Installation view
Ghislaine Leung
Daughters, 2021
Score: A children’s necklace stapled to the wall
Daughters consists of a children’s necklace stapled directly to the wall and exists an edition of three, shown here in full. The size and color of the necklaces used were not specified by the artist. The colorful candy ones used in Museum Abteiberg were sourced in the US by Maxwell Graham and shipped via FedEx to Germany. At the time of production, the exhibition department sourced several backups in Germany, in case international shipping delayed their delivery. Even though they’re rather small in size and might appear difficult to locate at the beginning, they have a very strong, sweet odor that alerts the viewer to their hiding spot inside the museum. The use of organic, processed materials, whose consistency and forms will inevitably change through time, reads a direct reference to famous working employed by Fluxus artists. The life and liveness of these works will change over time.
PORTRAITS, Museum Abteiberg, Mönchengladbach, Germany, 2021
Installation view
Ghislaine Leung
Onions, 2021
Framed Oil Painting
This small oil painting resided in the artist’s home in London throughout her childhood and was always known as the Onions. The painting was understood to be part of a collection of works passed to her maternal grandmother by her aunt Julie Elias who was married to the German art historian and translator Julius Elias. Elias died prior to the outbreak of World War II and in 1938 Julie Elias and their son Karl Ludwig Elias fled Germany to Norway with much of the Elias collection being sold under duress in flight from persecution. Neither Julie Elias nor Karl Ludwig Elias survived the war. The management of the estate passed to the artist’s grandmother Charlotte Levy, one of the few surviving heirs in London, who undertook the sale of works in order to pass funds back to the family after the war. This particular painting, Onions, was a replica commissioned by Charlotte Levy before the June 1980 Christie’s sale of its antecedent, a work entitled Nature morte aux Grenades by Pierre Auguste Renoir, which prior to that had been on loan to Leicester Museum and Art Gallery from 1970-77.
PORTRAITS, Museum Abteiberg, Mönchengladbach, Germany, 2021
Installation view
Ghislaine Leung
Onions, 2021
Framed Oil Painting
This small oil painting resided in the artist’s home in London throughout her childhood and was always known as the Onions. The painting was understood to be part of a collection of works passed to her maternal grandmother by her aunt Julie Elias who was married to the German art historian and translator Julius Elias. Elias died prior to the outbreak of World War II and in 1938 Julie Elias and their son Karl Ludwig Elias fled Germany to Norway with much of the Elias collection being sold under duress in flight from persecution. Neither Julie Elias nor Karl Ludwig Elias survived the war. The management of the estate passed to the artist’s grandmother Charlotte Levy, one of the few surviving heirs in London, who undertook the sale of works in order to pass funds back to the family after the war. This particular painting, Onions, was a replica commissioned by Charlotte Levy before the June 1980 Christie’s sale of its antecedent, a work entitled Nature morte aux Grenades by Pierre Auguste Renoir, which prior to that had been on loan to Leicester Museum and Art Gallery from 1970-77.
PORTRAITS, Museum Abteiberg, Mönchengladbach, Germany, 2021
Installation view
Ghislaine Leung
Portraits, 2021
Title Sign
The sign bearing the title of the exhibition is located on the back wall on the ground level and is visible to the viewer from the entrance. The lettering and color were modeled after regular shop signs, like the ones found at corner stores both in the UK and in Germany. The letters are done in a red color, with a simple sans serif font and the dimensions were calculated in accordance with the placement of the sign and its distance from the foyer. Production was carried out locally in Solingen, Germany. Such advertisement technique is traditionally implemented in a more prominent spot.
PORTRAITS, Museum Abteiberg, Mönchengladbach, Germany, 2021
Installation view
Ghislaine Leung
0465773005, Cabinet, London, UK, 2021
Installation view
Ghislaine Leung
Mixed Sports, 2021
Interlocking puzzle flooring tiles with proportional central square in complementary colors. No more than two colors of foam flooring tiles to be used. The tiles must fill the exhibition floor area.
Ghislaine Leung
Blackouts, 2021
Children’s blackout curtains, or blinds, over any window. The curtains should all be of the same fabric. Either all blinds or all curtains.
Ghislaine Leung
Blackouts, 2021
Children’s blackout curtains, or blinds, over any window. The curtains should all be of the same fabric. Either all blinds or all curtains.
Ghislaine Leung
Carriages, 2021
Carriage. Any size. The carriage must include shafts.
Ghislaine Leung
Power Relations, Maxwell Graham/Essex Street, New York, New York, 2019
Installation view
Ghislaine Leung
Power Relations, Maxwell Graham/Essex Street, New York, New York, 2019
Installation view
Ghislaine Leung
Realm, 2019
Scaled down lamp post, portable battery generator and retractable extension reel
Ghislaine Leung
Realm, 2019
Scaled down lamp post, portable battery generator and retractable extension reel
Ghislaine Leung
Realm, 2019
Scaled down lamp post, portable battery generator and retractable extension reel
Ghislaine Leung
Realm, 2019
Scaled down lamp post, portable battery generator and retractable extension reel
Ghislaine Leung
Realm, 2019
Scaled down lamp post, portable battery generator and retractable extension reel
Ghislaine Leung
Realm, 2019
Scaled down lamp post, portable battery generator and retractable extension reel
Ghislaine Leung
Flags, 2019
All internal doors painted gloss black
Ghislaine Leung
Toons, 2019
All internal walls painted gloss white
Ghislaine Leung
Company, 2019
Two gift wrapped model offices
Ghislaine Leung
Constitution, Chisenhale, London, UK, 2019
Installation view
Ghislaine Leung
Constitution, Chisenhale, London, UK, 2019
Installation view
Ghislaine Leung
Constitution, Chisenhale, London, UK, 2019
Installation view
Ghislaine Leung
Constitution, Chisenhale, London, UK, 2019
Installation view
Ghislaine Leung
Bosses, 2019
Consists of Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, Bosses II, 2019 which consist of two gift-wrapped oversized ceramic ‘The Boss’ mugs. Each pair of gift-wrapped ceramic oversized ‘The Boss’ mugs is a work. Bosses II is an edition of twenty. The work Bosses physically exists when all 20 editions are brought together via exhibition loan.
Ghislaine Leung
Flags, 2019
All internal doors painted gloss black
Ghislaine Leung
Toons, 2019
All internal walls painted gloss white
Ghislaine Leung
Partners Book Launch, Cell Project Space, London, UK, 2018
Installation view
Ghislaine Leung
Partners Book Launch, Cell Project Space, London, UK, 2018
Installation view
Ghislaine Leung
Bread, 2020
The exhibition space to be filled with the scent of freshly baked bread
Materials variable
Dimensions variable
Risquons-Tout, WIELS, Brussels, Belgium, 2020
Installation view
Ghislaine Leung
Private Sculpture, 2020
To keep an area of public space closed and inaccessible 24 hours a day. In this case, Parc des Eaux-Vives, Geneva
(standard opening hours: 24 hours a day)
Sculpture Garden, Geneva Biennale 2020, Geneva, Switzerland, 2020
Installation view
Ghislaine Leung
Public Sculpture, 2018
Toy catalogue items, laminated and paper labels, rubber bands
Dimensions variable
Reading: International, Reading, UK, 2018
Installation view
Ghislaine Leung
VIOLETS 2, 2018
Aluminum ventilation system, brackets, screws, bolts, dirt, welcome sign
Dimensions variable
VIOLETS 2, Netwerk Aalst, Brussels, Belgium, 2018
Installation view
Ghislaine Leung
VIOLETS 2, 2018
Aluminum ventilation system, brackets, screws, bolts, dirt, welcome sign
Dimensions variable
VIOLETS 2, Netwerk Aalst, Brussels, Belgium, 2018
Installation view
Ghislaine Leung
VIOLETS 2, 2018
Aluminum ventilation system, brackets, screws, bolts, dirt, welcome sign
Dimensions variable
VIOLETS 2, Netwerk Aalst, Brussels, Belgium, 2018
Installation view
Ghislaine Leung
The Moves, Cell Project Space, London, UK, 2017
Installation view
Ghislaine Leung
In The Pudding, 2016
Wall to wall medium pile grey carpet
The Moves, Cell Project Space, London, UK, 2017
Installation view
Ghislaine Leung
Shrooms, 2016
Nightlights, plug adapters
Dimensions variable
The Moves, Cell Project Space, London, UK, 2017
Installation view
Ghislaine Leung
Pictures, 2017
Raised floor with sunken recess, black rubber
Dimensions variable
Push to Shove, 2017
Foam board, tape, carpet, rubber, phones, night lights, video, photos, paper, acetate, mirror, extension cables, cable ties
24 × 44.3 × 33 inches (61 × 112.5 × 84 cm)
The Moves, Cell Project Space, London, UK, 2017
Installation view
Ghislaine Leung
Push to Shove, 2017
Foam board, tape, carpet, rubber, phones, night lights, video, photos, paper, acetate, mirror, extension cables, cable ties
24 × 44.3 × 33 inches (61 × 112.5 × 84 cm)
The Moves, Cell Project Space, London, UK, 2017
Installation view
Ghislaine Leung
Gates, 2019
Child safety gates
Dimensions variable
Shrooms
Nightlights, plug adapters
Dimensions
The Making of Husbands, KW Institute for Contemporary Art, Berlin, Germany
Installation view
Ghislaine Leung
VIOLETS 2, 2018
Aluminum ventilation system, brackets, screws, bolts, dirt, welcome sign
Dimensions variable
I,I,I,I,I,I,I, Kathy Acker, Institute of Contemporary Arts, London, UK, 2019
Installation view
Exhibitions:
Ghislaine Leung
SCORES
Solo Exhibition
Ordet, Milan, Italy
December 10, 2021 – February 5, 2022
— Frieze
— ATP Diary
Elsewhere:
2022
Ghislaine Leung
A Show About Nothing
By Art Matters, Hangzhou, China
December 25, 2021 – May 8, 2022
2021
2020
Jef Geys
Ghislaine Leung
Risquons-Tout
WIELS, Brussels, Belgium
September 9, 2020 – January 10, 2021