#Ghislaine Leung

[mentaltimetraveller]

Ghislaine Leung

0465773005

Cabinet, London April 15 – June 6, 2021

#Ghislaine Leung

[collectionarchive]

by Ghislaine Leung

source: collectionarchive.tumblr.com

#Ghislaine Leung

[princessofmissouri]

ghislaine leung

violets 3 (detail), 2019

#art #upload

[rob-art]

Ghislaine Leung

[crystalmaster333]

minimal sculpture long hair for everyone shoegaze robert gober hard edged painting jg ballard punks teddy boys rockers structuralist film fine dining sci fi don de lilo traditional french culture english culture scottish culture beverly buchanan the middle east judaism islam christianity druze kurt vonnegut carparks bridges infrastructure shopping centres getting a fine on public transport not checking your emails ambient music joachim bandau difficulty waking up in the morning ghislaine leung boyle family smoking weed when you’re already drunk robert grosvenor answering the phone with a convincing accent that’s not your own larry david loving and hating modernism at the same time rosalind krauss fiona connor being publically described as young mick jagger and being annoyed about it carbon monoxide agnes martin amphetamine sulphate guy debord guy de maupassant a french lesbian friend from long past now married to a man and working at a bank lee bontecou academic friends gossip friends north melbourne friends the gold coast roberto bolano celebrity chefs australian football players geoffrey rush’s son michelen star pork jowls marco pierre white nothing that anyone else cares about 

[megabif]

Ghislaine Leung Bread, 2020 The exhibition space to be filled with the scent of freshly baked breadMaterials variable Dimensions variable

Risquons-Tout, WIELS, Brussels, Belgium, 2020

Via

[i---dag]

Work Diary, entry 1 (Sunday 10th of March 2024).

Having to make work for my Bachelor degree show. Making work. Working. Work making. Making. Making and doing? Doing is making. Does working = doing? Or doing = working? I don't really know and that is why I find myself in something of a limbo, I'm not sure where to start (making the work) or if I in fact have already started (doing it). I'm thinking a lot about working and that surely must be work, too.

So my idea right now is to map it all out, this thinking, working and doing. And not thinking, never working, and undoing. Because why I make art is exactly to not work. To refuse to participate in "the market", even though it seems like there's a dissonance in my head where I can't credit myself for having thought something great or having general ideas and understandings that I deem to be art, because they do not take the shape as work or object. So it's all encompassing affects and very emotionally complex. I find myself moving from genius to lazy bitch then back to genius then again lazy bitch. The question is then also, lazy how? Lazy because I'm not producing the work in the sense the system (the SYSTEM!) would like, even though my untouched being / my pure soul is about critisizing just that?

All this thinking I'm doing while moving effortlessly of difficultly through the city(s). Biking through the harbour to get to my favorite gentrified spot, getting off my bike then walking around checking out walls to paint later, when it's dark. It's a super windy day today. My home is wiggling from side to side, the movement is shaky and constant. So I'm sitting still typing this but still moving. And the only thing that seems continous for my work recently is that it's always done while moving or by making movements. Which is why I have decided that maybe painting isn't the greatest medium for me after all, even though I love it so and want to eat the paint straight from the tube. So the work should be about moving around. Movement in general. Through differing spaces using various sorts of modes of transportation (rollerskating, taking the bus with no metro, taking the ticket with no use). Painting a picture takes months for me, seing the sights, snapping the pictures, thinking about it, going somewhere else. Then finally at some point I might start the painting just to get distracted by movement again. After months it's finally done and I can post it to my Instagram and get 213 likes. It's good. It's fine. I hate it. I hate everything in a way lately, I hate how it all functions. Going to shows, seeing art critiquing something, yet the piece plays by the critiqued things rules. Why. We have no imagination left. We keep saying that we need to play by the rules of the system in order to challenge it, but what about, the masters tools can never dismantle the masters house?

Exhibit 1.1 shows my left hand holding a card from a tarot-esque card deck my mom got in 2006 or something like that. Many of the cards are now hanging in my bathroom, but because everything is wiggly, they keep on falling down. I like to take it as an omen, the one that falls. Today it was this one with the phrases "Believe in Yourself!" and "See yourself doing well, and you will." The background is two pegasuses, one larger and the other small, indicating guidance, flying in a beautiful cloudy sky with a small rainbow. I love this image because I love wings, clouds and rainbows. And doing. See myself doing well, and I will. Not by doing it but by seeing it.

Exhibit 1.2 shows a small table with 2 books and 2 magazines, a pack of cigarette filtes, an ashtray and a joint. Also jeans-clothed-legs and some furniture and the floor. I can tell you (since I bought/got/stole them) that the 2 books are Produktionsæstetik by Cecilie Ullerup Schmidt, and Bosses by Ghislaine Leung. The two magazines are Sorg og Samfund and DC Magazine.

If I take more pictures today I will come back to edit this post. But otherwise, that's it for now.

#workdiary

[cosmicanger]

ghislaine leung

violets 3 (detail), 2019

[dannyfoley]

Turner Prize: Jesse Darling wins for 'delirious' art using tattered flags and barbed wire

By Ian Youngs

Entertainment & arts reporter

5 December 2023

Jesse Darling's work in Turner Prize exhibition at Towner gallery in Eastbourne

Jesse Darling has given crowd control barriers legs and made them look like they are running amok

An exhibition featuring crowd control barriers that have gone out of control, twisted railway tracks, barbed wire and tattered union jack bunting - all making a comment on modern British life - has won this year's Turner Prize.

Jesse Darling picked up the prestigious art award and its £25,000 cheque at a ceremony in Eastbourne, East Sussex.

He has spoken about being inspired by his view of the effects of austerity, Brexit and the pandemic on the town, and the "hostile environment" immigration policy.

The artist says he uses objects that are cheap and easy to find, but that hold meaning for viewers

Speaking to BBC News after his win, he explained: "You have to love something to be able to critique it. I was born in this country and I'm looking at what's going on here.

"I wanted to make a work that reflected that, and I wanted to make work about Britain for the British public.

"Whether they like it or don't like it, it was a great honour and privilege to be able to do something so public for the British public."

Barbed wire and a piece of net curtain hang above a crumbling mock checkpoint at the gallery entrance

The judges praised his use of common objects like barriers, hazard tape, office files and net curtains "to convey a familiar yet delirious world".

"Invoking societal breakdown, his presentation unsettles perceived notions of labour, class, Britishness and power," they said.

Darling said he would spend his prize money on dentistry and rent

The chair of the judges, Tate Britain director Alex Farquharson, added that his art was "bold", "engaging" and partly a reflection on "the state of the nation".

"It's one element of it, one layer of it. I don't think it's the whole story. There is some sense, from his point of view, that these are times of crisis."

Tattered and faded union jack bunting hangs from the ceiling

In his acceptance speech, Darling also spoke up for the power of teaching children art in schools, and said Conservative governments had sent the message that self-expression and culture were "only for particular kinds of people from particular socio-economic backgrounds".

"Don't buy in. It's for everyone," he said.

At the end of his speech, Darling pulled a Palestinian flag out of his coat pocket and waved it.

Jesse Darling was many of the critics' favourite for the prize. His room of jaunty crash barriers and union jacks is inventive and original.

Darling - who was born in Oxford but lives and works in Berlin - has said he is reflecting the hostile environment in the UK towards immigration in this work.

The exhibition entrances are turned into checkpoints complete with barbed wire. But the space itself feels alive and humorous.

That's down to the crowd control barriers Darling has sculpted at prancing angles. This is anthropomorphising writ large - the very things that are used to corral people by the police are given a life of their own, turned into creatures that can't be controlled.

We're also surrounded by frilly curtains and a maypole adorned with police tape and anti-pigeon spikes.

Darling has said British towns these days are showing the effects of austerity, Brexit and Covid. He's riffing on that in a show that tackles nationhood and British identity.

All the four nominated artists were reflecting what's happening in Britain right now. In the end, Darling was felt by the judges to be a cut above.

The other nominated artists were Ghislaine Leung, Rory Pilgrim and Barbara Walker.

The Telegraph's art critic Alastair Sooke called Darling's room at Eastbourne's Towner gallery "the most exhilarating presentation I've encountered at the annual exhibition in recent years".

Files are filled with concrete as a comment on bureaucracy

Sooke wrote that the artist "offers an unruly vision of contemporary Britain as both ruinous and suffused with impish magic".

"Compared with such sculpturally compelling work, which boils and bubbles with brilliant ideas and touches, the offerings from the other shortlisted artists seem lukewarm."

Jesse Darling's work in Turner Prize exhibition at Towner gallery in Eastbourne

However, the Sunday Times' Waldemar Januszczak did not like Darling's entry. "I suppose it's a glumly poetic interpretation of Britain today," he wrote.

"Where it fails is in its overall visual impact. It's too bitty."

Jesse Darling's work in Turner Prize exhibition at Towner gallery in Eastbourne

Rollercoaster rails appear to crash through the gallery wall

Darling, 41, who only went to art school in his 30s, was nominated for two exhibitions in Oxford and London last year.

A cabinet contains hammers that are decorated like toys, with colourful ribbons and bells

#contemporary art #fine art #installation #sculpture #turner prize #jesse darling #brexit #borders #boundaries #political art #sculpture installation

[halthalthalt]

https://renaissancesociety.org/exhibitions/555/ghislaine-leung-yours/?mc_cid=341d34f8ab&mc_eid=9e33c04eba

[jhavelikes]

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? 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.

Ghislaine Leung – Chisenhale Gallery

[mentaltimetraveller]

Ghislaine Leung

0465773005

Cabinet, London

April 15 – June 6, 2021

#Ghislaine Leung

[collectionarchive]

by Cabinet UK on Ghislaine Leung

source: collectionarchive.tumblr.com

#cabinet uk #cabinet #ghislaine leung

[princessofmissouri]

my fav piece at the ghislaine leung rensoc showwww is just the flyerrrr

[movingspaceart]

[i---dag]

25/01/2024 16.15

i started to collect this sort of thing, literal trash from the streets. the thing can speak to me or it cannot. i've been reading Bosses by Ghislaine Leung the last couple of days, she writes about materiality and productivity, what are my material conditions of my artistic practice? things are in my life and abundantly all around me at all times, but are they materials? why do i choose one piece of trash over another? why do i cling to these material possesions that would, normally, be percieved as unvaluable? wherein lies the value to me, subjectively?

fuck, somebody in the school is listening to this better off alone, charli xcx unlock it hyperpop remix, i hate hyperpop, it's not even remotely interesting to me.

here's what i found in the streets today and yesterday.

A keychain braided with pastel-colored string. It looks like something a child would make in a municipal leisure time care facility, after school, waiting for their parent(s) to pick them up. Found in the street in Vesterbro, it was wet with rain.

A lost key with pink string, found not even 30 minutes ago. It looks like it must be a key for a bike lock.

Small piece of cardboard with printed black and yellow film on one side. Also has tape. In one corner there is a pixelated purple pattern.

An unfolded (or de-folded) Zendium cardboard box. I saw it lying with the printed side facing downwards into the concrete.

A leather and fur mitten come undone, wet and dirty with rain and dirt.

Wooden L Shape, found at school - a left over piece from the renovation of the windows facing into the yard.

#photography