Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un linguag

Ghislaine Leung ░ The Moves

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Ghislaine Leung at Cell Project Space

Ghislaine Leung at Cell Project Space
Artist: Ghislaine Leung
Venue: Cell Project Space, London
Exhibition Title: The Moves
Date: February 1 – March 19, 2017
Ghislaine Leung at Cell Project Space
Ghislaine Leung at Cell Project Space

Ghislaine Leung at Cell Project Space
Full gallery of images, press release and link available after the jump.
Images:
Images courtesy of Cell Project Space, London and Rob Harris.
Press Release:
Cell Project Space presents a solo exhibition and event by London and Brussels based artist Ghislaine Leung.
Ten large double pane glass panels are grouped in sets, held together and to the walls by extruded aluminium brackets. Sound fills the space, intermittently large and hollow, exclamations and sighs rounding and swelling notes eddy and fall to opened doors slammed shut. Medium pile grey green carpet covers the floor from wall to wall, soft underfoot. It exudes a faint smell of new carpet, of glue and synthetic dyed fibres. Each panel has a varying size of vinyl text pushed and glued onto the surface of the glass, dust against the smudges and streaks of touches, suction cups, chipped corners. Black words spell out half conversations, captions, dedications, titles, they are partial, glutted omissions and truncated emissions. Two numbers short of a number. From the ceiling hang nine filtered lights suspended on steel trays, above them covered skylights, beams. Below, at the far end of the room, inserted into the wall, curved off full flush is a white circular speaker, next to concealed cables that run along walls to power points filled with small mushroom shaped lights. Two entrances with two steps lead to the same room. Black rubber sections cover and lie seamed across the raised floor which steps sunken to its centre. One foam board model construction sits within this centre, lit and lowered, half scaled, many scaled, tiny images, tinny sounds on small screens repeating. The sound of slowed strings to the sea.
In conjunction with The Moves at Cell Project Space, Leung presented Hollis & Money, an evening of video and readings in collaboration with the ICA on Wednesday, 22nd February at 6:45pm.
Artist and writer Ghislaine Leung, lives and works in London and Brussels. Recent projects include ‘078746844’ at WIELS, Brussels, ‘Soft Open Shut’ at Studio Voltaire, ‘Le Bourgeois’ at 3236rls, ‘Re: Re:’ at Montague, ‘Brink’ at CGP, London, ‘Violent Incident’, Vleeshal, Middelburg, ‘Prosu(u)mer’, EKKM, Tallinn, ‘Performance Capture’, Stedelijk, Amsterdam, ‘A Bright Night’ with Serpentine Galleries and LUX. Recent writings in ‘LA.NL’, Amsterdam and Pure Fiction’s ‘Dysfiction’, Frankfurt. Leung is editor of Versuch Press and member of PUBLIKATIONEN + EDITIONEN. She was resident at Hospitalfield in Summer 2016 and has her collection of writing ‘Partners’ forthcoming in 2017.