MMCA Hyundai Motor Series 2020: Haegue Yang ‒ O2 & H2O

29 September 2020 ‒ 28 February 2021 MMCA

The National Museum of Modern and Contemporary Art, Korea (MMCA, Director Youn

Bummo), presents MMCA Hyundai Motor Series 2020: Haegue Yang ‒ O2 & H2O from Tuesday, 29 September to Sunday, 28 February 2021 at MMCA Seoul.

Haegue Yang (b. 1971, Seoul and ) is critically acclaimed for her expansive oeuvre and has been active internationally since the mid-1990s. Employing multifarious materials of ordinary, industrial, and quasi-folk, her works forsake hierarchy, freely traversing subjects such as the relationship between the narrative and the abstract, domesticity, migration, and borders. Extensive cultural references encompassing historical figures, events, and natural and societal phenomena are embedded in her mesmerizing yet rigorous visual language.

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Bearing “the abstraction of reality,” MMCA Hyundai Motor Series 2020: Haegue Yang ‒ O2 &

H2O is an attempt at another artistic leap. For this exhibition, air and water, elements essential to life, are perceived through the lens of O2 and H2O, chemical symbols of human invention. The title O2 & H2O reflects the artistʼs persistent interest in tracing sensorial experiences with the abstract language of art. It also resonates with Air and Water, a work produced by the artist in 2002 for an exhibition of the same title. O2 & H2O poses questions to contemplate in totality the world of scientific facts, the perceptual world including experiences and senses that venture beyond such facts, and the phenomenal world that is gradually pushed to the brink with the climate crisis and disasters.

O2 & H2O is an exhibition as hybrid as our reality. Yang takes the knowledge, conventions and phenomena formed in various sociocultural spheres and articulates them in “fantastic” visual language to transcendental space and time, resulting in creating groups of sculptures, such as Sonic Domesticus and The Intermediates, which use bells and artificial weaving materials. Her sculpture‒beings inhabiting somewhere between living organisms and machines, or inanimate objects and human evoke the grotesque and familiarity of folklore. As an exhibition within an exhibition, Mok Woo Workshop - 108 Wooden Spoons presents objets dʼart and texts of the carpenter and writer Woohee Kim, an acquaintance of the artist and her family, contemplating on the meaning of everyday life, locality, community, and performativity in craftsmanship.

The environment constructed in Seoul Box and Gallery 5 awakens our senses and induces our motion in the space. Common interior components such as corridors, walls, doorknobs, and venetian blinds are arranged or stacked in particular ways to draw a constellation. The ten- meter-high blind sculpture Silo of Silence ‒ Clicked Core installed in Seoul Box reveals the artist's recent tendency in utilizing the “oblique” materiality of the blinds. In Gallery 5, the two works of Sol LeWitt Upside Down, are displayed, in which the cube-shaped original works of Sol LeWitt (1928-2007) are “scaled down three times” and “enlarged twenty-one times” to form two large cubes made of blinds. In Five Doing Un-Doing, the digital collage on banners, and the wallpaper piece, DMZ Un-Do, all the overwhelming phenomena that we encounter in reality ‒ substance and symbols, energy and technology, climate and social polarization, disasters and national borders ‒ are silently collapsed onto each other. An artificial intelligence voice generated by cloning Yangʼs voice in collaboration with Neosapience, a voice cloning start-up, Genuine Cloning inquires into values such as identity, authenticity, and uniqueness.

Coinciding with the opening of the exhibition, the first anthology on the artist in Korean, Air and Water: Writings on Haegue Yang 2001-2020, co-published by the MMCA and Hyunsil Publishing, will be released. The anthology features a selection of thirty-six writings in chronological order by international critics, academics, curators, journalists, and artists who have engaged with Yangʼs career over the last two decades. Offering insight into her artistic development and trajectory, Air and Water will provide substantial material for its readers to appreciate her oeuvre in greater depth.

On 28 September, 5.p.m., an exhibition tour by curator Jihoi Lee will be aired live on Instagram (instagram.com/mmcakorea). On 16 October, 4 p.m., a special video introducing the exhibition and major artworks in the show will be uploaded on the MMCA YouTube channel.

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Also, two conversations will be held in collaboration with the Goethe-Institut Korea on 23 October of this year and 27 February of next year, with a panel comprising contributors to the anthology, such as Doryun Chung, deputy director, curatorial, and chief curator of Hong Kongʼs M+; Yilmaz Dziewior, director of the Ludwig Museum in Cologne; Ute Meta Bauer, director of the NTU Center for Contemporary Art Singapore; as well as sociologist Hong-jung Kim (Seoul National University).

Directed by Sngkn Kim, the chair of the Tongyeong International Music Festival, the high-profile musical ensembles, ʻSori Percussionʼ and ʻwork in progress ʼ will perform every last Wednesday of the month during the entire exhibition period. MMCA Talks will host a series of lectures by art theorist Hyosil Yang, art critic Jinshil Lee, media cultural historian Yongwoo Lee, physicist Sang Wook Kim, and a talk with artist Jinjoo Kim and Haegue Yang. The public program To 30 Samcheongro will explore possible forms of correspondence between the museum and the public, and Art & Books x Haegue Yang - O2 & H2O will present a conversation with invited panelists on art publishing, editing, and design. Meanwhile, fashion and design brands will launch wearable art products as well as stationery items bearing major works by the artist at the opening of the exhibition.

The honorary ambassador of the exhibition, the actor Woo Sung Jung, is the narrator of the audio guide for MMCA Hyundai Motor Series 2020: Haegue Yang ‒ O2 & H2O. Delivered in his familiar and gentle voice, this guided tour provides the stories behind the exhibited works and will be available in the MMCA Mobile App, as well as the MMCAʼs YouTube channel.

“MMCA Hyundai Motor Series 2020: Haegue Yang ‒ O2 & H2O marks a significant and substantial solo exhibition of the prolific and celebrated artist Haegue Yang at the MMCA,” remarked director of the MMCA, Youn Bummo. “We hope that this exhibition as well as the anthology, an outcome of a collaboration over three years, will provide an opportunity to explore the oeuvre of Yang in depth.”

The MMCA will be partly reopened from Tuesday, 29 September offering online reservation for museum visits with free admission.

*As changes to scheduled events are possible due to the COVID 19 pandemic, please refer to the MMCA website for updates.

■ MMCA Hyundai Motor Series (2014-2024)

The MMCA Hyundai Motor Series, in partnership with Hyundai Motor Company, is a ten-year art project that has been organizing annual exhibitions of esteemed Korean artists since 2014.

The project aims to expand the boundaries of Korean contemporary art and provide a platform that connects leading Korean artists with wider audiences globally. Each year, MMCA selects one artist with a unique artistic vision to explore his/her creative process to its full potential and provides promotional support of the exhibition both at home and abroad.

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The commissioned artworks that embody the artistʼs vision and aesthetics allow the audience to witness the currents and dynamism of Korean contemporary art. The MMCA Hyundai Motor Series is noteworthy for being a successful example of partnership between the arts and the corporate sector and its contribution to the advancement of Korean art.

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Please contact Yulee Park ([email protected]) for any further inquiries.

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Exhibition View

MMCA Hyundai Motors Series 2020: Haegue Yang‒O2 & H2O, exhibition view at MMCA Seoul. Photo: Cheolki Hong. Image provided by MMCA.

Sonic Domesticus, 2020 Installation view at MMCA Seoul. Photo: Cheolki Hong. Image provided by MMCA.

DMZ Un-Do, 2020, Installation view at MMCA Seoul. Photo: Cheolki Hong. Image provided by MMCA.

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Mok Woo Workshop, Wooden Spoons, 2020. Installation view at MMCA Seoul. Photo: Cheolki Hong. Image provided by MMCA.

The Intermediate, 2017-2020. Installation view at MMCA Seoul. Photo: Cheolki Hong. Image provided by MMCA.

Five Doing Un-Doing, 2020. Installation view at MMCA Seoul. Photo: Cheolki Hong. Image provided by MMCA.

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List of Works

1. Silo of Silence ‒ Clicked Core

2017, Aluminum venetian blinds, powder-coated aluminum and steel hanging structure, steel wire rope, revolving stage, LED tubes, cable, 1654 x 780 x 780 cm. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

Standing in the way of the moving body, the blinds obscure light, yet smells and sounds freely circulate through them. For the past 15 years or so, Yang has mobilized the “oblique” material to develop various installations. In Silo of Silence ‒ Clicked Core (2017), which consists of two layers made with 154 blinds, the vortex shape in cobalt blue rotates slowly within the fixed black shell, while moiré interference repeatedly appears and disappears. Whereas the cylindrical structure calls to mind an industrial facility, the cobalt blue core physically represents a point of contact with the digital world, which becomes activated when clicked.

2. Lacquer Paintings

(Left to Right) Thick Dirt, 2016, Chipboard, wood varnish, knitting yarn, rubber band, 125 x 90 cm. Photo: Studio Haegue Yang. A Baggy Pair in Rain ‒ German Zucchini, 500 g and Dutch Red Onions, 1 kg, 2018, Chipboard, wood varnish, found plants, seeds, mesh produce bags, dust, hair, 50 x 35 x 2 cm. Photo: Studio Haegue Yang. Blade Notations ‒ Fission Path, 2019, Chipboard, wood varnish, blades, dust, insect, hair, 35 x 25 x 2 cm. Photo: Studio Haegue Yang.

While she was studying in Frankfurt, Yang started the Lacquer Paintings (1994‒) by applying cheap, industrial lacquer to seal over their surface, in contrast to the Southeast Asian artisanal craft of applying processed wood sap to wooden containers. Lacquer Paintings glue and seal the leftovers of consumer products, such as net bags for food packaging, onto chipboard, as though publishing an almanac on “production” and “production environments.” Because the works can only be dried outdoors due to the thick toxic smell of lacquer, they capture the impressions of the environment, e.g., raindrops, pollen, and insects.

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3. Chroma Key Wall Body Passage,

2020, Gypsum boards, steel studs, paint, screws, Dimensions variable. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

All of the entrances leading into Gallery 5 are almost passageways crossing the thick walls. Yang formed a long row of quasi-tunnels along one side of Gallery 5, reenacting the hidden gallery entrances as freestanding structures. This passage reveals the museum's concealed architectural reality; inside and outside are transposed. Our sight can run fast through the series of wall structures, or we can view the Lacquer Paintings within an intimate setting where the walls surround us. Painted green and blue alternatingly on the inner side of the walls, the two chroma key colors implies the rite of passage to a different dimension.

4. Nonagonal Door Opening

2020, Steel keyed entry and push-button door knobs, Dimensions variable. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

A handle is an interface that leads to the world beyond. As we can open the building door to venture inside or out, the handle mediates between two different worlds or situations on either side. Yet Nonagonal Door Opening, which is placed on the museum wall, is functionless. Rendered in four types‒gold (brass), silver (nickel), yin (keyhole), and yang (button lock)‒the handles make a drawing of a particular geometric constellation, known as the “nonagram” or “enneagram.” This compositional methodology of the nonagon, used by mystic philosophers like George I. Gurdjieff (1872/1877‒1949), has been referred to by Yang in several of her past works.

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5. Sonic Domesticus

2020, Powder-coated stainless steel frame, powder-coated mesh, powder-coated handles, casters, black brass and brass plated bells, red stainless steel and stainless steel bell, metal rings, plastic twine. Photo: Yi-shik Myung, National Museum of Modern and Contemporary Art, Korea. (Left to Right) Sonic Domesticus ‒ Scissor Pressing, 208 x 151 x 86 cm. Sonic Domesticus ‒ Blow-Dry Crawl, 155 x 227 x 115 cm. Sonic Domesticus ‒ Pot Atop, 224 x 176 x 122 cm. Sonic Domesticus ‒ Clam Tongs, 291 x 111 x 97 cm.

Bells are omnipresent in the rituals of diverse cultures throughout different times and places as objects that link human beings to the cosmos. In rituals, the metallic sound of the bells fuses with dance, leading people to a more elevated spiritual state. The anthropomorphized forms of Sonic Domesticus are derived from four ordinary household objects, yet are enlarged and modified to constitute grotesque Kafkaesque creatures. Equipped with handles, the sculptures on casters can be operated for simple movements, and their tinkling bells produce subtle yet invigorating rattling sounds. With traces that bear the lost original functions of their ergonomic design, the sculptures now exude an air of the uncanny.

6. Sonic Clotheshorses

(Left to Right)

Sonic Clotheshorse ‒ Dressage #7 2020, Powder-coated aluminum and stainless steel frame, powder-coated mesh, powder-coated handles, casters, brass and nickel plated bells, metal rings, 154 x 74 x 59 cm. Photo: Yi-shik Myung, National Museum of Modern and Contemporary Art, Korea.

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Sonic Clotheshorse ‒ Dressage #8 2020, Powder-coated aluminum and stainless steel frame, powder-coated mesh, powder-coated handles, casters, brass and nickel plated bells, metal rings, 154 x 74 x 59 cm. Photo: Yi-shik Myung, National Museum of Modern and Contemporary Art, Korea.

For the artist, a laundry drying rack is a metaphorical evidence of life‒a token of sallim, a Korean word for homemaking. Since Yangʼs first solo exhibition in Korea, Sadong 30 (2006), the laundry rack has subsequently appeared in different media, including photography and sculpture as a significant household tool or as an object inherently bearing the motion of folding and unfolding. For Sonic Clotheshorses (2020), the artist dressed up racks with bells, attached handles, and equipped them with casters so that they can be operated. To determine all the possible ways to enshroud the rack, she developed over 40 different shapes and has realized eight pieces to date. The sculptures move with “cheerful” rattling sounds as if a rider freely demonstrates his or her skills within a specific spatial delineation of a dressage.

7. Sol LeWitt Upside Down

(Left to Right) Sol LeWitt Upside Down ‒ Open Modular Cube, Expanded 21 Times 2020, Aluminum venetian blinds, powder-coated aluminum and stainless steel hanging structure, steel wire rope, LED tubes, cable, 496 x 696 x 598 cm. Courtesy of Kukje Gallery. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea. Sol LeWitt Upside Down ‒ Structure, Scaled Down 3 Times 2020, Aluminum venetian blinds, powder-coated aluminum and stainless steel hanging structure, steel wire rope, LED tubes, cable, 426 x 499 x 499 cm. Courtesy of Kukje Gallery. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

Since 2015, Haegue Yang has been developing a series of works called Sol LeWitt Upside Down, consisting of blinds in pristine white, and refers to the modular sculptures of the leading

Minimalist artist Sol LeWitt (1928‒2007). The cubic structures in O2 & H2O retain the same shape no matter what direction it is flipped, rendering futile Yangʼs intrinsic principle of turning the original upside-down. LeWittʼs original Structure (1994) was scaled down 3 times while his Open Modular Cube (1966) was expanded 21 times. Both of them float in midair and are positioned flush with the top vertexes of the Chroma Key Wall Body Passage, creating the illusory impression of freestanding sculptures on the ground.

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8. DMZ Un-Do

2020, Digital color print on self-adhesive reflective and self-adhesive vinyl film, Dimensions variable. Graphic support: Yena Yoo. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

Yangʼs wallpaper works have evolved from the early collages of her artworks together with referenced objects to convoluted imageries based on research into a specific locality. The collapsed temporality and spatiality, to which the artist refers to as “productive anachronism,” are merged into DMZ Un-Do as a two-dimensionality. Summoned from the material world and ecosystem, visual references such as pollen, robot bees, solar panels, a portable electric fan, a hydroelectric power dam, an electricity transmission tower, lightning, and a Lorenz attractor unfold the movement of matter and fluids or the transference of energy. This birdʼs-eye view renders the complex spatiality of the Demilitarized Zone (DMZ), bearing the multiple interpretations of the Korean work title Bi-Hang (Un-Do) of derailment, contemptible behavior, and flying in midair.

9. Mok Woo Workshop, 108 Wooden Spoons 2020. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

The “spoon” is a symbol of oneʼs livelihood and a unit for members of a household. A total of 108 wooden spoons from the Mok Woo Workshop are displayed in a rear room in Gallery 5. Woohee Kim is a carpenter who also writes, and his exhibition is a combination of objets dʼart and texts, which depict the stories behind the items. Yangʼs works have incorporated biographical narratives of historical figures, which are obscured in her abstract visual language. The Mok Woo Workshop spoons and their voices emanate an air that is markedly different from the utterances of the public figures that Yang has referred to in her past works.

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10. Sonic Ropes

2020, Nickel plated bells, stainless steel chains, metal rings, Dimensions variable. Photo: Studio Haegue Yang.

The Sonic Sculpture series employs bells as their common material and has transformed the ways in which the sculptures respond to the human body using various shapes and scales. Formed by linking bells together with metal rings, Sonic Ropes drape down from the 15-meter- high ceiling, dragging our eyes and pulling them all the way to the sky outside the window. The rattling sound produced when the ropes are shaken resonates vertically. Ropes are often featured in traditional fairytales as objects that enable an escape from some real-world trials. Sonic Ropes stimulate our sensorial intuition toward cosmic sublimation and the world of imagination, as the brother and sister in the fairy tale who became the Sun and the Moon.

11. The Intermediates

(Left to Right) The Intermediate ‒ Serpent Creature, 2017, Artificial straw, powder-coated stainless steel hanging structure, powder-coated stainless steel frame, steel wire rope, pom-pom, Neoseul, maracas, 154 x 102 x 97 cm. Photo: Florian Kleinefenn. The Intermediate ‒ Tinted Serpent Creature, 2017, Powder-coated stainless steel hanging structure, powder- coated stainless steel frame, steel wire rope, plastic twine, Bupo, 215 x 144 x 135 cm. Photo: Florian Kleinefenn. The Intermediate ‒ Triple Tentacles Serpent, 2017, Artificial straw, powder-coated stainless steel hanging structure, powder-coated stainless steel frame, steel wire rope, plastic twine, 225 x 168 x 130 cm. Photo: Florian Kleinefenn. The Intermediate ‒ Five‒Legged Frosty Fecund Imoogi, 2020, Powder-coated stainless steel frame, steel wire rope, plastic twine, brass plated bells, metal rings, 405 x 562 x 452 cm. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

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(Left to Right) The Intermediate ‒ Ringed Extravaganza Shield, 2018, Powder-coated stainless steel frame, powder-coated mesh, plastic twine, nickel plated bells, metal rings, 210 x 117 x 67 cm. Courtesy of Kukje Gallery. Photo: Chunho An, Kukje Gallery. The Intermediate ‒ Adorned Salt and Pepper Shield, 2018, Powder-coated stainless steel frame, powder- coated mesh, plastic twine, 207 x 120 x 54 cm. Courtesy of Kukje Gallery. Photo: Chunho An, Kukje Gallery. The Intermediate ‒ Aqueous Hairy Warrior Shield, 2019, Powder-coated stainless steel frame, powder-coated mesh, plastic twine, plastic raffia string, black brass and nickel plated bells, metal rings, 204 x 130 x 53 cm. Courtesy of Kukje Gallery. Photo: Chunho An, Kukje Gallery. The Intermediate ‒ Frosty Walking Compartmented Container, 2018, Powder-coated stainless steel frame, powder-coated mesh, casters, plastic twine, 141 x 108 x 105 cm. Courtesy of Kukje Gallery. Photo: Chunho An, Kukje Gallery.

Woven with artificial straw, the sculpture series The Intermediates has continuously transmuted since 2015, raising issues concerning the specificity and universality of different folk cultures. The early pieces of The Intermediates employed a traditional straw weaving technique intended as an appropriation of traditional folk imagery. Gradually, it has diversified by actively adopting heterogenous weaving methods and objects. Four creatures suspended from the ceiling recall the legendary imoogi (serpent) that not yet fully transformed into a dragon, and wall-mounted The Intermediates assume the forms of shields or large masks. Resembling a basket on feet, Frosty Walking Compartmented Container (2018) implies a grotesque intermediate between a human being, an animal, and an inanimate object.

12. Sonic Snowy Straggly Swell

2020, Powder-coated stainless steel frame, powder-coated mesh, powder-coated handles, steel wire rope, brass, blue nickel, copper, nickel, pink nickel, red nickel, and turkishblue nickel plated bells, metal rings, plastic twine, 170 x 90 x 85 cm. Photo: Studio Haegue Yang.

In Sonic Snowy Straggly Swell, bells of varying sizes are attached with an irregular pattern to give a deformed appearance like volcanic terrain. The short black sticks seem to be a truncated version of the handles that frequently appear in the Sonic Sculptures. The process of “hair implantation” turns the sculptures into creatures, insulating them like mammals. A sphere and rotation are a form and movement that the artist has long invested in. Suspended from a single point, the sculpture easily loses its balance and rotates from even the smallest movement around it. Yet this quasi-sphere remains its form even if it spins. No matter the extent of the rotation, there is no change in position.

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13. Five Doing Un-Doing

2020, Aqueous inkjet print on polyester fabric banners, ad balloons, eyelets, steel wire rope, Hanji, Dimensions variable. Graphic support: Yena Yoo. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

Yang has adhered to a “non-binary” stance wary of dichotomies such as modernism and totems, or abstraction and figuration. At the corridor, five banners with powerful graphics and exaggerated typography resemble propaganda flyers and float in the air with the attached balloons. In the corner below the satirical digital graphics, shamanist paraphernalia‒created by folding, cutting, and unfolding Korean hanji paper ‒ dangles like fringe, heightening the incantatory mood. The diverse imageries of Five Doing Un-Doing are secular visualizations of the five elements (water, wood, fire, earth, and metal) symbolized by Obangsaek, Koreaʼs five essential colors (black, blue, red, yellow, and white). The elements command a sense of realism through its secularization to reverberate the contemporary society.

14. Genuine Cloning

2020, Artificial Intelligence (Typecast), voice of Haegue Yang, speakers, Dimensions variable. Technical support: Neosapience, Inc. Photo: Cheolki Hong, National Museum of Modern and Contemporary Art, Korea.

The footage recorded as the North and South Korean leaders conversed on a pedestrian bridge during a live broadcast from the April 2018 inter-Korean summit at Panmunjeom included only the sounds of birds and the odd bit of camera noise. To this, Yang adds her voice, replicated through artificial intelligence technology. Genuine Cloning is a “fake voice,” a voice-avatar for the artist that transcends the dichotomy of internal and external. It is transmitted through Sound Fruit, polygonal assemblages of speakers hanging among the Five Doing Un-Doing banners in the corridor outside Gallery 5.

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About the Artist

Image provided by Hyundai Motor

Haegue Yang (born 1971, Seoul) is known for her eloquent and seductive sculptural language of visual abstraction that reference her personal readings of historical figures and her long- standing interests in issues of migration, notions of folklore and domesticity. Her diverse body of work spans a wide range of media, from wallpaper works and paper collage to performative sculpture and large-scale installations.

Yang has exhibited in major international exhibitions including the 16th Istanbul Biennial (2019), 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012), and the 53rd (2009) as the South Korean representative. Her recent solo exhibitions were held at Art Sonje Center, Seoul (2010); Leeum, Samsung Museum of Art, Seoul (2015); and Kukje Gallery, Seoul (2019) in Korea, and numerous international museums, including The Bass Museum of Art, Miami Beach (2019); South London Gallery (2019); Govett-Brewster Art Gallery, New Plymouth and the Institute of Modern Art Brisbane (2018); La Panacée-MoCo, Montpellier (2018); La Triennale di Milano (2018); Museum Ludwig, Cologne (2018); Kunsthaus Graz (2017); KINDL ‒ Centre for Contemporary Art, Berlin (2017); Hamburger Kunsthalle (2016); Serralves Museum, Porto (2016); Centre Pompidou, Paris (2016); and the Ullens Center for Contemporary Art, (2015). In 2018, she became the first-ever Asian female artist to receive the prestigious Wolfgang Hahn Prize. She is currently a professor of Fine Art at her alma mater, the Städelschule in Frankfurt.

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Yangʼs large-scale installation work Handles is now on view at the Museum of Modern Art (MoMA) until November 15, 2020. In autumn 2020, Yang will present four solo exhibitions, Emergence at the Art Gallery of Ontario, Toronto, MMCA Hyundai Motor Series 2020: Haegue

Yang ‒ O2 & H2O at MMCA Seoul, Strange Attractors at Tate St Ives, and The Cone of Concern, Museum of Contemporary Art and Design, Manila in sequence.

Art Prizes 2018 Wolfgang-Hahn-Preis, Museum Ludwig, Cologne, 2010 Kim Se Choong Youth Sculpture Prize, 2007 Baloise Art Prize, Art 38 Basel, Switzerland 2005 Cremer Prize, Westfälisches Landesmuseum, Münster, Germany 2002 SCA-Art Kunstpreis, SCA Hygiene Products GmbH, Manheim, Germany 2001 Maria Sibylla Merian Prize, Hessisches Ministerium für Kunst und Wissenschaft, Germany

Collection (selection) Aishti Foundation, Jal el Dib, Lebanon Amorepacific Museum of Art, Yongin, South Korea Art Gallery of Ontario, Toronto, Canada Bristol's Museums, Galleries & Archives, Bristol, UK Carnegie Museum of Art, Pittsburgh, USA Explum, Murcia, Galerie für Zeitgenössische Kunst, Leipzig, Germany Guggenheim Abu Dhabi, Abu Dhabi, UAE Kulturstiftung des Bundes, Halle an der Saale, Germany Hamburger Kunsthalle, Germany Kunstmuseum Stuttgart, Germany Leeum, Samsung Museum of Art, Seoul, South Korea Los Angeles County Museum of Art, Los Angeles, USA Museum Ludwig, Cologne, Germany Museum of Modern Art, New York, USA Muzeum Sztuki, Lodz, Poland M+, , National Museum of Modern and Contemporary Art, South Korea Neuer Berliner Kunstverein e.V., Berlin, Germany Queensland Art Gallery, Brisbane, Australia Remai Modern Collection, Saskatoon Samdani Art Foundation, Dhaka, Bangladesh SeMA, Seoul Museum of Art, Seoul, South Korea San Francisco Museum of Modern Art, San Francisco, USA Serralves Foundation, Contemporary Art Museum, Porto, Portugal Solomon R. Guggenheim Museum, New York, USA The Bass, Miami Beach The Museum of Fine Arts, Houston, USA , Minneapolis, USA Westfälisches Landesmuseum, Münster, Germany

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