Through a small door sat recessed within a heavy-set wall, white gloss painted walls hang and fold down into a space punctuated by several black gloss coated doors. Tonal sound fills the space in pockets and holes that shift and move. Directly opposite is a single prefabricated white metal panel filled with polyurethane and secured with bolts via white powder-coated metal brackets to the concrete floor. Fixed frontally to this is a small white powder-coated, 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. Mounted to the right are two tall long black speakers, a bit too close together, from which emit the aforementioned sounds. At a distance and facing these, 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 multiple adapters set into white surface-mounted wall sockets. 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. Running behind and parallel to these, 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. Set back against this line, are a further two larger prefabricated white metal panels filled with polyurethane and secured with bolts via white powder-coated metal brackets into the concrete floor. Both panels contain small fixed double-glazed windows with vents and double plug power supplies that each run with white coated electrical cable to single adapters set into white surface-mounted wall sockets. On the back of one panel, 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 second panel. The sockets of the first panel remain unused and covered. Also featured, hung low on the white gloss walls are 272 close-cropped images taken over the years 2017, 2018, 2019 inclusive.
Ghislaine Leung (b. 1980, Stockholm, Sweden) lives and works in London, UK. Recent solo projects include: Power Relations, ESSEX STREET, New York City; CONSTITUTION, Chisenhale Gallery, London (2019); VIOLETS 2, Netwerk, Aalst; Local Studies, Reading International, Reading (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 2020.
Photography: Frank Kleinbach
CONSTITUTION was commissioned and produced by Chisenhale Gallery, London, (25 January – 24 March, 2019) with production support by EMPAC, The Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute through their artist in residence programme. Additional and context-contingent elements have been produced for Künstlerhaus Stuttgart.
Realised with the generous support of Fürstenberg Zeitgenössisch, Donaueschingen and ESSEX STREET, New York.