Ghislaine Leung (b. 1980, Stockholm, Sweden), lives in London

Ghislaine Leung’s works often utilise their surrounding structures – exhibition space, temporal durational, regional location or organisational partners – as limits deployed through sets of conditions for each institution to perform the work. In her ongoing Questions talks, the artist takes the structure, and demand, of the artist talk to task, stipulating the requirement for no presentation to be given but there instead only be questions asked, to which Leung will respond accordingly.

Leung makes art that explores the labor conditions of making art. Often, this is through what she refers to as ‘scores’: written descriptions or instructions to be followed to physically realize the work. For ‘Holdings’, Leung’s 2024 exhibition at the Renaissance Society in Chicago, these scores included ‘An object that is no longer an artwork’ (Holdings, 2024) and ‘A song from a film the artist’s father watched repeatedly before moving to the United Kingdom in 1970’ (Wants, 2024). Leung is an artist who lays down clear rules of engagement, who establishes boundaries. Part of the way she does this is by ensuring that the images which circulate are of her work rather than herself.’ (Hettie Judah, Frieze). Recent solo exhibitions include Kunsthalle Basel (2024), The Renaissan Society (Chicago, 2024), Simian (Copenhagen, 2023), Ivory Tars (Glasgow, 2022), Caravan (Oslo, 2022), Museum Abteiberg (Mönchengladbach, 2021), Ordet (Milan, 2020), Cabinet (London, 2020), Chisenhale (London, 2019), Künstlerhaus Stuttgart (2019), Netwerk (Aalst, 2018). The artist is represented by Maxwell Graham (New York) and Cabinet (London).

Image: Ghislaine Leung, Holdings, (detail), 2024. Score: An object that is no longer an artwork. Photo by bob. Courtesy of the Artist, Maxwell Graham, New York and Cabinet, London.

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