Galerie Chantal Crousel Haegue Yang Selected Press Galerie Chantal Crousel Nicolas Liucci-Goutnikov. Yang «Haegue »,CodeCouleur24,January-April 2016,pp.36-37. Galerie Chantal Crousel Nicolas Liucci-Goutnikov. Yang «Haegue »,CodeCouleur24,January-April 2016,pp.36-37. Galerie Chantal Crousel Roberta Yang. Smith.«Haegue York Minimal’»,TheNew ‘Quasi-Pagan Times,Friday, April 1,2016. Galerie Chantal Crousel of Death,whilealsoinitiating translationsofthetext,firstintoKoreanin 2008andnowinChinese. Yang hasstagedaseriesofreadingsthe French writerMarguerite Duras’ 1982 novella The Malady working onalesser-known creativetrajectory. Drivenbyaquestfordeeperlevelof understanding, Yet alongsidethewidelyrecognisedaspectsofheroeuvre,South Koreanbornartisthasbeen has meantthatherpracticebecomeclearlyidentifiable. strong visuallanguageandconceptualdrive,combined with Yang’s increasinginternationalpresence, creates amultitudeofsensorialexperiencesthat serve toreconfigureandexplorethequotidian. sculptures madeofclothingracks,strawandbells, tovideoandworksonpaper of Art, Seoul. Working acrossabroadrangeofmediums,fromethereal Venetian blindinstallationsand hibitions in Asia attheUllensCenterforContemporary Art, Beijing,andtheLeeum,Samsung Museum Yang hasalsoputtogether foursoloshowsaroundtheworld;includingtwoextensiveinstitutionalex as theBiennaledeLyon, theSharjahBiennialand8th Asia Pacific Triennial ofContemporary Art, ForHaegue Yang, 2015wasaratherhecticyear. Along withparticipatinginmajorartevents,such 15 Jan2016 Katie Fallen A conversationwithHaegue Yang campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. Photo: ©StudioHaegue Yang Haegue Yang. , Yang’s hybrid practice This - Galerie Chantal Crousel hear Duras’ writing. book andobviously, Iwantedtohearthetexttranslated intothevoice…soitisbornoutofcuriosity to book. When Iwasinresidencyatthe Walker from2009to2010,DoryunChong proposedtostagethis Anyway, aftertwoyearsIreturnedto The MaladyofDeath, andinitiatedtheKoreantranslationof her works. I discoveredalongtheway, suchasherfilmsandtheatre productionsaswelltheintertextualityof Initially, Istarted tostudyallhernovelsaswellbiography, andthereweremanyotherthings that work. theoretical about it. So the whole trajectory about Duras started from this point of not understanding her it again,twiceinarow, butIstilldidn’t understandwhatwasgoingon,eventhoughthereisnothing Duras called The MaladyofDeath.SoIhadtoreadthisbook, butIcouldn’t understandit. Then Iread impossible todigestsincethewholechapterwasaboutabook,unknownmetillthen,byMar The UnavowableCommunity. There wasonechapter, called ‘TheCommunityofLovers’,whichwas While Iwasinsearchofanotioncommunity, IencounteredanessaybyMauriceBlanchot,called discuss whatdrewyoutoDuras’ workasasourceofinspirationandthistextinparticular? The MaladyofDeath:ÉcrireetLirefocusesonMarguerite Duras’ novellafrom1982.Pleasecanwe mitment totheproject. practice, howithasdevelopedovertheyears,andcomplexmeaningsbehind work, KatieFallensatdownwiththeartisttodiscuss The MaladyofDeath;whatinspiresthisunusual Expanding onapreviousOculaConversationwith Yang, whichexploredhersculptureandinstallation of considerationsforatextthatcontinuestointrigue. image ofFrenchactressJeanneBalibar, thestagingwaspowerfullyeffective. Itopenedupamultitude by tension-filledpauses,aburningmosquitocoil,movinglightsandanintermittentboldbackground Hon Lai-chureciteDuras’ text,dressedinalongwhitedressuponanallbutblackstage.Brokenup the publicationoffirstChinesetranslation.Heldovertwonights,openingperformancesaw Lire, whichwascomprisedofastaging The MaladyofDeathatHongKong’s Sunbeam Theatre and In December2015,aspartofMobileM+:Live Art, Yang presented The MaladyofDeath:Écrireet the notionof‘unknownother’. mous fromtherefinedaestheticof Yang’s otherwork,allthewhilesharingsamedesiretopursue ning tocomprehendandexplorethetruemeaningofDuras’ text,theperformative outcomeisautono by aninconclusiveuncertaintyandtheunknown.Motivatedapassionate,orevenobsessive,year visual outcomes.EchoingDuras’ originaltext, Yang’s stagingof The MaladyofDeathischaracterised each performancehasbeeninadifferent orlocallanguage,withadifferent performer andwithvarious Beginning in2010duringherresidencyatthe Walker Art CenterinMinneapolistheUnitedStates, campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. Yang’s decisivecom guerite - - - Galerie Chantal Crousel to theversioninHongKong? (13) in2012. Would youtalkusthroughhowhavechangedtheperformanceeachtime,buildingup Art CenterinMinneapolis,thentheNamsan Arts CenterinSeoulandmorerecently atdOCUMENTA The performance inHongKongisthefourthofthiswork.Itwasinitiallystaged2010at Walker unknown. I’mnotsharingwhatIknow;ratherattempttosharedon’ blind commitmenttomakeacirclearoundsomewherethatisunknownandevensupposedremain The conceptualpremiseofstagingthistextoverandagainwasimmediatelythere;itisakind campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. ker Art Center, Minneapolis Photo ©Cameron Wittig for Wal- min. Maladie delamort,1982,ca.80 from Marguerite Duras'novellaLa Art Center, Minneapolis. Adapted English, February2,2010, Walker Jane Gordon.Dressrehearsalin of Death–Monodramawith Image: Haegue Yang, The Malady t know. Galerie Chantal Crousel as wellhergreatabilitytoperformthetextthroughtrainedspeech. anchor. The maintriggerforchoosingherwaswillingness andherphysicalpresenceonthestage, the propercastingprocess.IendedupaskingawomantoperformwhoisknowninKoreaasnews The stagingatNamsanwasaninterestingexperiencebecauseitthefirsttimeIhadgonethrough his illiteracyinKoreanletters,inducinganelementofunknown-nessandimpossibilityjob. design thebook.Daniellikedconceptualpremisebehindcommission,whichilluminated to writetheprefaceandaDutchdesigncollective,Metahaven(Danielvander team hadtobebuiltforit:aKoreanphilosopherwhoisknownasspecialistinBlanchotwasasked Korean translationof The MaladyofDeathasanartistbookwithInsa Art SpaceinSeoul2008. The tutional showinSeoulat Artsonje Centerin2010.PriortotheperformanceatNamsan,Ipublisheda public staging,andwasbornoutofmysoloshow Voice Over Three, whichwasinfactmyfirstinsti introduced. The secondperformanceof The MaladyofDeath attheNamsan Arts Centerwasthefirst So thefirststage,whichtookplaceat Walker asadressrehearsalwithinvitedguests,Ihavealready campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. Contemporary Art, Seoul Photo: ©SAMUSO:Space for 1982, ca.80min. novella LaMaladiedelamort, Adapted fromMarguerite Duras’ Namsan Arts Center, Seoul. Korean. September11-12, 2010, Yoo Jung-Ah.Stagingprojectin dy ofDeath–Monodramawith Image: Haegue Yang, The Mala- Velden) wasaskedto - Galerie Chantal Crousel certainly abigturningpoint. rifying. However, IfollowedJeanne’s ideabecausethatwasdaringandtrulychallenging. And itwas time, duetomyenormousrespectforDuras’ textstagingitbyreadingthewholehasbeenter the decisiontoabandonscriptwasinitiatedbyher. While Iwasawareofthatpossibilitythewhole raging metomakeeachversionunique.)Jeannewastheonewhoproposedreadentiretext.So lar approach.(Eachperformeristhesourceofinspirationaswellastrongcollaborator intellectual environmentshewasfairlyacquaintedwithDurasandherwritings,butalsohadaparticu realised shealsohadatremendousrelationshipwithit. As someonewhohadgrownupinParisan with theactressfordOCUMENTA (13),JeanneBalibar, tosharemydesireandapproachthetext,I based onthenovellaforeachstaging,meaningitwasnotacompletereadingofbook. Then thestagingatdOCUMENTA (13)in2012wasabigturningpoint.SofarIhadwrittenscript done inKorea? After Namsan,youthenstagedtheworkatdOCUMENTA (13).Howdidthisbuilduponwhatyouhad campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Photo: KrzysztofZieliński 80 min.CommissionedbydOCUMENTA (13). Adapted fromMarguerite Duras'novellaLaMaladiedelamort,1982,ca. Balibar. StagingprojectinEnglish,June7,2012.StaatstheaterKassel. Image: Haegue Yang, The MaladyofDeath–MonodramawithJeanne Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. When Imet , encou- - - Galerie Chantal Crousel kept informalandintimate. over 900peopleintheaudienceatdOCUMENTA (13),thestagingwithIrenein Yucatán isgoingtobe the audiencesataroundwater’s edge.Quitedifferent fromtheextremeclassical theatreeventwith beauty isactuallyhiddeninthedarkness. There we willhavetheactress,Irene Azuela, onaraft,with to thenightskywouldnotprovideanylight;asitwillbeyoucannotreallyseeanything,all the extremely vulnerableagain. There willbeneither projection northeatricallighting.Evenanopening opera; inMexico, Yucatán, wewillbecomeaninvaderinnature,acenote,sothepiece feel genuinely localplaceliketheSunbeam Theatre, whereusuallyseniorcitizensgotoenjoyCantonese ronment. While inHongKong,therewasjuxtapositionbetweenan almostelitistpiece,presentedina will beinacenote,sinkhole,soitbecomeanoutdoorpiecenature-dominatingwildenvi At thebeginningofthisyearIwillproduceanother The MaladyofDeathinSpanishMexico.It cumstances, suchasencountersofpeoplewithdifferent desires. Each timeIstage The MaladyofDeath,itisformeddifferently, becauseit’s anaccumulationofcir Where willyoutaketheperformancenext? intellectual andpersonalproperty, andoverlappingitontothebook. it wasahugedependency, whichisimportantandinteresting.I’mborrowingeachperformer’s entire tonese, andasIcannotspeakCantonese,wasabsolutelyreliantontheirabilityintegrity imagery ofJeanne,whichhadbeenproducedfordOCUMENTA (13).Honand Yau performedinCan find awaytopreservethemasreader. SofortheHongKongversionIintentionallyrecycledalotof the cinemascholarandfilmmaker. They’renotperformerswhousuallyappearonstage,soIhadto Again wehadtwointellectualandstrongwomen:thewriternovelist,HonLai-chu; And turningthentotheperformanceinHongKong? campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Photo: CPAK Studio Mobile M+:Live Art. Marguerite Duras’ novellaLaMaladie delamort,1982,ca.75min.CommissionedbyM+for ding inCantonese,December 4,2015,Sunbeam Theatre, HongKong.Complete readingof Image: Haegue Yang, The MaladyofDeath–MonodramawithHonLai-chu. Stagedrea Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. - Yau Ching, . Infact, - - - Galerie Chantal Crousel is importanttomakepresence andabsenceexistinparallel. with smokeasmirroring. Inthedarkness,yousmellmosquitocoilbefore youseeit;thistimedelay chapters twoandthreeof thestaging,absenceofperformerisreplaced bythismosquitocoil, The burningmosquitocoilinthestagingisonly elementthatfreelymoves,evenifit’ a powerfulimageofanenigmaticpresenceiscreated. made themtheperformerswhentheyweremeant tobejustreaders. intentionally recyclingtheimageofJeannefrom dOCUMENTA (13),becauseotherwise Iwouldhave body. InHong Konginparticular, Iused thisdoublingtoprotectHonand Yau asnon-performersby is asimultaneousresemblanceandcontrastbetween thereal-scapeandrepresentationofheador reader intheforegroundandhugeupside-down headorbodyofawomanasthebackground. female, juxtaposedwiththerealpresenceofaperformer. Sothereisadoublingofthefigure,with like projectionsofanidea.SoIchosetoechothiswiththebackgroundimagealmostparalysed Even ifthereareactorsthey’realmostlikemannequins,theybarelymoveorspeak;infact When IstudiedDuras’ filmsIdiscoveredthisveryanti-cinematicideaofacinemawithoutactors. So ononehandIamoverlappingelementsfrommyotherworks,butalsotracingtheideasofDuras. to employ? ground. Would youtalkaboutyourstagingchoices,includingthevisualeffects andimageryyouchose the useoflighting,soundeffects, aburningmosquitocoilandtheimageofwomanasback Duras’ textisverysensual;anelementyouappearedtoexploreintheHongKongperformancethrough story onecandigestandbedonewith.Ithinkthatisthemotivationformetokeepdoingit. possible comprehension,sothetextrequiresustobeconstantlyengaged; of the text, outside of reading whenthe performance is over. Inother words, there is resistance against a that shemakesthemomentpossiblethroughherpresenceandvoicealsomeansthrowsus out in it. The performercausesaconflicttobuildup,becauseweareso reliantonherpresence. Thefact experienced likelove. You getpuzzledby theactualityofstory, whichisonlypresentwhenyouare escaped frommeafterwards. The textisnotmeant tobeunderstood,Ithinkitismeantheardand that Ihadtoreaditagain.Itwassocrystal-clearduringtheperformance,yettextimmediately It wasreallyinterestingtohearthetextat Walker forthefirsttime.Iheardtextsodifferently of theeventinitsentirety;awitnesstovoiceembodyingtext. presented onthestage,andIcan‘see’ and‘hear’ it.It’s theactualmomentthatyoubecomewitness But infact,thetextremainsremoteafterstaging.SoclosestIcouldgettoiswhenit Each stagingisundoubtedlyarichlearningprocess.Ihavefeelinggetclosertothetexteachtime. mance? HowhasyourunderstandingoftheworkandDuras’ textdevelopedovertimewitheachnewperfor campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. And bydeletingallsenseofacting, The MaladyofDeathisnota s sominor. In - There - Galerie Chantal Crousel The narrowestwaytoexplainthepausesisasarepresentationofdaysinstory accompanying printedtextthereareareasofblankspace. selves. Intheperformance,youhaveleftlarge lapseswhennothinghappens,andsimilarlyinthe Duras’ notionofécrireplacesemphasisonthesilencebetweenwordsasmuchthem the performer’s movement. gressive way, most ofthetimestillandminimal.Everyonceinawhile, ittakesovertheroleoftimeor how toplaceahumanbody asatextinthespaceonstage. The moving lightwasusedinapassive-ag focus onlyonhervoiceand herpresence.InHongKongIagaintriedtonot letthemperform.It’ of theperformerfeelsenormous.Mosttime theperformerissostrictlyfrontalandstillthatwe In general,thestrategyisasimplereductionsothat everysmallchangeoflightorlittlemovement What’s theroleof lightingandmovementinthispiece? lost asheinhisfaileddesire. love. Heevensaysintheendthathewouldn’t evenrecognisethewomanunderdaylight. Time gets knows, whileshejustfollowsup.Buthegetsweaker andgetsmorelostinhisdesiretolearnhow absence of‘her’ throughsleep. At thebeginning,man seemsliketheonewho’s dominatingand ness alotofrepetitiveorgradualthings,yettheyareverysubtleduringthesenights. sea, spendingsomenightstogether, butwedon’t evenknowhowmanynights.It’s uncertain. You wit- red toas‘you’ inthe text)andwoman(referredtoas‘she’ inthetext)arehotelroomnearby campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. Photo: CPAK Studio 75 min.CommissionedbyM+forMobileM+:Live Art. Marguerite Duras’ novellaLaMaladiedelamort,1982,ca. 4, 2015,Sunbeam Theatre, HongKong.Completereadingof with HonLai-chu.StagedreadinginCantonese,December Image: Haegue Yang, The MaladyofDeath–Monodrama There’s aconstant . The man(refer s about - - - Galerie Chantal Crousel instead ofdismissingitthrough thetheatricalisationofitsnarrative. piece. Includingtheauthor’s noteinthestagingisacleargesture,addressing thepresenceofbook, is nottocreatetheatre.Ionlywantmakeitpossible tohearthewritingwithoutachievingatheatre Usually theatreorfilmisatheatricalisationof story throughactingandnarrative.Butmyambition At theendof performanceinHongKong,Duras’ notesonthebookarereadout. Why? experience theveryimpossibilitybypractisingapossibility. sibility staysbacktoback. We areleftwithapossibilityofexperiencingtheimpossibility. Orweonly ding orgaininganyaccomplishment(maybethat’s whatsherequired),sothispossibilityandimpos manner of‘doubletalk’ overandagainwithmycommitmenttodoitrepeatedlywithoutsuccee also practisedtheimpossibilityofit,whichisinherentinstory seems tomeatypical‘doubletalk’ ofDuras:ontheonehand sheoffers apossibilitytostageit,butshe sibility sheoffered. However, it’s ironictodoitbecauseinherlifetimesherefusedallowit. That Duras expressedthatherbookcanbestagedasatheatre[piece]orfilm,soI’mleaningontothepos duce yourperformance? story asareadingratherthanperformance.Pleasecouldyouexplainhowthisinfluencedtopro In theauthor’s noteattheendofbook,Duraswritesaboutpossibilityfilmingorstaging campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. Photo: CPAK Studio by M+forMobileM+:Live Art. Maladie delamort,1982,ca.75min.Commissioned Complete readingofMarguerite Duras’ novellaLa December 4,2015,Sunbeam Theatre, HongKong. drama withHonLai-chu.StagedreadinginCantonese, Image: Haegue Yang, The MaladyofDeath–Mono- . Somyapproachwastotracethat - - - - Galerie Chantal Crousel comes first. since itdoesblurwhowhatforthesakeofwhat.Forme,here,desiretosharewithpublic this web.Situatedoutsideoftheartenterprise, The MaladyofDeathisakind‘difficult’ project, identities incompetition. The MaladyofDeathismaybepartmystruggletogetmyselffreefrom As weallknowwell,intoday’s contemporaryenterpriseartistshavebecomesomuch aboutbranded sence’ existsasaformofidentitythatisalmostlikeghost. This identityisaspresentitabsent. for ‘mine’. This approachmightreflecttheverynatureofthisproject;Duras’ notionof‘identityab to theidea,meaning,itistoosimpleandmodestbeunderstoodasanactofappropriating‘herpiece’ However, it’s clearthatwiththisprojectI’mmoreselfless,meaningIjustwishtoexpressmyconsent posed tobeobsolete. A moreimmanentthingtofocusonistheclarityofimpossibility. I don’t havethishierarchyofheridea/myidea,theoppositeactually. The notionoftheoriginalissup appropriation? Do youfeelarecontinuingDuras’ creativeprocess,orshouldyourworkbeapproachedasanactof campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Photo: CPAK Studio. mort, 1982,ca.75min.Commissioned byM+forMobileM+:Live Art. Kong. CompletereadingofMarguerite Duras’ novellaLaMaladiedela Staged readinginCantonese,December5,2015,Sunbeam Theatre, Hong Image: Haegue Yang, The MaladyofDeath–Monodramawith Yau Ching. Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. - -

Galerie Chantal Crousel is basedonthiswrongpremise. how tolove,butyoucan’t learnhowtolove,youcanonlylovesomeone.Hismistake, orhis‘malady’, Another thingthatisalsoinherentinthetextthis‘you’ is toworkonedayonastagingwithanintellectualwhoinvestedingendertheory between hishomosexualityandherheterosexuality, whichrunsinparallel.Oneofmygreatestwishes homosexual man(he’s foreign tothefemalebody)there’s somethingthatisplayedoutviaatension be alsoreadasanaffair between ahomosexualandheterosexual. While the‘you’ isobviouslya doesn’t meananunchangeabletruth. The novellamightbeaneroticgender-based affair sothatitcan I honestlydon’t haveanexplanationfor‘whywomen?’ becauseIthink itiscleartome. Yet clarity Until now, Iknowithasbeenallfemaleperformances,butmaybeit’llchangeoneday, Idon’t know. it isalsosignificanttoexpressthisdependencyonthatperson. the workasamonodramawithperformer/reader. Without thereader/performer/voiceIcan’t doit,and voice ofwhatwehear, and theyhavetobetheonewhobreaksroleplay. It’s importanttodescribe there arealsolisteners:thesetherolesIhadtoputintopiece.Soinfactreaderequals two characters.Forme,therearemorerolesthanjust‘you’ and‘she’. There isDuras,there isme,and truction inthepiece:Ididn’t wantittobecomearoleplayorrepresentationofthestorybasedon drama. Ichosetostagethetextwithonesinglepersonforasimilarreasonwhyputauthor project; otherwise,I’mprettymuchfollowingwhatDurashasintended.neversuggestedamono What youarepointingoutisactuallythebiggestandmostsignificantinterpretationI’vemadeinthis significance ofalwayschoosingafemalereaderandplacingwomeninthedominantposition? to havegreatercontrol,withafemalereaderspeakingforboththemanandwoman. Duras’ textfeatures twofigures,butyourstagingisamonodrama.Inperformancewomenappear campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Photo: CPAK Studio 75 min.CommissionedbyM+ forMobileM+:Live Art. Complete readingofMarguerite Duras’ novellaLaMaladie delamort,1982,ca. Staged readinsinCantonese, December 4,2015,Sunbeam Theatre, HongKong. Image: Haegue Yang, The MaladyofDeath-MonodramawithHonLai-chu. Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. hasthewrongpremise,hewantstoknow . What isthe ’s ins- - Galerie Chantal Crousel ture, whichartistictalentinevitablyandseverelyagoniseswith.—[O] Korean peninsula,yetresonatewiththebroaderpremiseofCold sometime around April 2017, basedontwohistoricalfigures. Theirpoliticalbiographiestook place ina Plus, IhaveafilmprojectincollaborationwithFrenchartist/film-makerthatissupposedtocome out Malady ofDeath,whichisratherimmaterial,lessexhibition-relatedandmoreguerrilla-like. exhausted. Forinstance,IstarteddreamingaboutanadventurebothinSeoulandChina,similarto mism fromwhereanythingcanhappen;allthedoorsareopennowforme,sinceIstandatzero,totally Malady ofDeathinHongKong. When Ifinishaseriesofprojects‘well’,thereisgreatdealopti in Asia; mysoloshowatLeeum,SamsunginSeoul, anothersoloshowatUCCA,Beijingand The Over thepreviouscoupleofyears,I’veputagreatdealener Foremost, Ithinkaslongpractiseanartist,I’llcontinuetoproduce Along withyournextstagingof The MaladyofDeath,doyouhaveanyotherplansfor futurework? notion isdirectlyconnectedwithsexualityaswellradicality because itisrenderedwithradicaldestruction.ForDuras,revolutionsrequiretotal-destruction,andthis rous atall,it’s rathersad,violentandsevere.Durasseemstohaveaparticularapproachsexuality, eroticism sheusesisalsosimilartothatevokedbyGeorges Bataille;it’s aboutexcess.It’s notglamo violent anddestructive,butit’s alsoapenetration,weneedtoreachtheother;itispainfulact. The Well sexualityispositionedassomethingglamorousinconsumerism. Yet, inDuras’ booksexualityis Durasseemstohavereallyexploredthedepthsofgenderroles,sexualityandideasdominance. campaign=Haegue%20Yang%20Talks%20Performance%20%20Martin%20Browne%20at%20Art%20Stage%20 %20Artworks%20at%20Art%20Stage%20Singapore&utm_content=Haegue%20Yang%20Talks%20Perfor- mance%20%20Martin%20Browne%20at%20Art%20Stage%20%20Artworks%20at%20Art%20Stage%20 Singapore+CID_0c543bbed595199c102715b616fbdca8&utm_source=Email&utm_term=Read%20More https://ocula.com/magazine/conversations/haegue-yang-%281%29/?utm_medium=email&utm_ Katie Fallen. «Aconversation with Yang», Haegue Ocula,January 15,2016. gy intoallofmylastthreeprojects . War as amaintainedpowerstruc The MaladyofDeath. The - - - Galerie Chantal Crousel tance, quirks andambitions —startingfrom March 2014. which excursions were across the city—soaking conceived up itspace, subs- of andexecuted onsite, after monthsof fifty-five have Thirty-six Sharjah. artistsfrom thesuccinctroster made of newly commissioned works,fabric of many its artists’involvementmay have ithasamply with inthedepthof lostincommunity gained engagement, theurban merrily embraced thelargely SouthAsiancommunity neighboringitsprinciple exhibition areas. Butwhat thebiennial Introspective andpensive, Biennial12isasomewhat Sharjah affairthanprevious iterations, lessgregarious which have Joo’s admittedly utopicprospect. —isat of cious tasteforprogress thecore with tradition itsown itsjudi- re-imagining, juggling itssolemnlove of —inthethroes of itself Sharjah The cityof ment? The answer, contemplation and(re-)imagination. itseems, issomehow wound upinaquiet,thoughtful blend of question: how artstillmatter given cancontemporary today’s politicalconfine- economicstranglehold andrampant buzzword. Rallied under thebannerThe thepossible, past,thepresent, works thefeatured tug at aneternally slippery byjah Biennial12,masterminded EungieJoo, formerly acuratorat New York’s New Museum,hasmadequietits mineonce opined,“hasalways“The Biennial,”aneditorof been political,inaquietway.” Sharjah This year’s Shar- Biennial12 Sharjah Deema Shahin. YangHaegue ArtFoundation. Sharjah «AnOpaqueWind» Photoby (2015).Installation view at Biennial12.Courtesyof Sharjah http://www.flashartonline.com/2015/03/sharjah-biennial-12/ Kevin Jones. Biennial12»,Flash «Sharjah Art, March 16,2015. Galerie Chantal Crousel quietly. toround upworksthis control Biennial12hasmanaged andcomposure, Sharjah that provoke consideration…ever so into thisparticularbiennial vein, deeply. isobvious more there practices meritto miningfamiliar Perhaps becauseof in her2012New MuseumTriennial, The Ungovernables. new artistic“blood” injected While somebemoan thelack of Joo’s maturingditious, conversations it is the fruit of with artists she knows well, them already having shown several of place. sedate More thanse- biennial, affair—a“museum-grade” with notahairoutof Biennial12isanelegant Sharjah Tehran. 15); andImHeung-soon’s Korean hauntingReincarnation women (2015)reveals who acommunity lived of inpre-1979 AbkhaziainThe SecessionSessions(2014– examines EricBaudelaire thestatelessunseen potentialdirection; state of leavesdictionary allwords lying (2015),explores theliminalspacebetween in thestreets andits thepoliticalpresent BaselAbbas and the Ruanne Abou-Rahme’sfinal chapter of (2012–15),titled IncidentalInsurgents fall of When the overtlyMore some milestone, leaving politicalworks the ustoponderanaftermath: seemtobringus thebrinkof pipeline.forgotten trans-Arab ArtMuseum—apoeticstand-inforthe the Sharjah Steel Rings(2013-ongoing),tunnelingacross wing anentire of asoukstall’s doorangling intothespace;UnnikrishnanC’spaper of intimate brick paintings;Rayyane Tabet’s graceful tani artistLalaRukh’s sublime meditations onthehorizon line;MohammedKazem’s “scratchings” onplush,cottony Wonderment that abound coursesthrough gestures inthebiennial’s thesimple, graceful sites:Pakis- traditional more Rojas usintoateeming, lures decaying world, which we ponderwith near-existential wonderment. (utterly alientothisdesertclime) hunch like moundsonsomeNeolithicsite. sacred Inonememorable masterstroke, altar, while another’s by topisengulfed ayellow, Lynda Benglis-like peaty soil paintblob. Outside, giantrows of waft across theexpansive spacepunctuated by which varyingly resembles blocks, shapedconcrete amakeshift oneof startlingly aestheticdebris. The decomposition siteisat oncestarkof andsumptuous, stately andputrid.Whiffs of thecolumns, making theraw bottomsseemlike concrete plinthsholdingupcross-sectioned layerspainted thetopsof stripes —birdskeletons, color, gnarled sneakers, gourds, festering Rojas rotting spuds. explosion of Inasurprising has to observe what andalien,nature andspectacle. isreal all Cavity-riddled packed cementpillarsare with detritusof focus.meaning intosharper AdriánVillar Rojas’s Planetarium(2015),asthetitleimplies, isavantagepoint:site icefactory, thesingle Kalba,stoodaderelict workexclave that broughtbiennial’s theentire the monumental siteof of of Oman,intheeastcoastSharjah theseoff-sites farthest-flung.was alsothe OntheGulf The mosttriumphalof outcomes. inthepast,which mired thefuture promises present forebode fragile thebiennial,isamuseum of the very titleof graphy with forward-looking WAM agro-technology-speak. (World Museum)(2010–15),resonatingwith Agriculture outworn museo- intoa“museum” asoon-to-be-demolishedstorehouse crossingformed thedustycolonialistcodesof wall inaspooky excavation-meets-self-examination installation. Nearby, SpanishartistAsunciónMolinosGordotrans- Elsa, towards thesun,looking down) (2014–15),inwhich hewn crevices snake uptoareflective silver nitrate–coated dated creekside warehouse housedMichael Joo’s Robert LocaleInscribed(Walking Smithson-inspired inthedesertwith intotheBiennial’s urbanspacesdrafted four“transitional” off-siteplotting.The Flying Adilapi- Saucerisjustoneof joint —toying at oncewith itobsolescenceanditsvisibility. color-based “interventions” ontheaptly namedFlying Saucerbuilding—akitschy chicken fast-food 1970sformer Sharjah’s solitude. nocturnal artistHassanKhanmade nightsky Egyptian contemplative —freeze-framing of records Contact(Each HairisaTongue)tions from theField (2015),while of Byron Kim’s CityNight(2015)abstractionsare based artistRheimAlkadhisourced eyelashes forherCommunica- Creek from laborersalongtheSharjah sea-faring apparatus works asafunctioningdistillery, nestledinacourtyard that roseprovides garden theraw material. Beirut- theancient Rirkritinspired Tiravanija’s Damascus)(2015).Anexactof replica elaborate Untitled2015(EaudeRose of IslamicCivilization —allegedly resembling Duchamp’s Museumof intheSharjah iconicBottlerack— ter distillery arosewa- invited alternativelySharjah artists’interventions. andbearsthemarks inspires modelof A14th-century of http://www.flashartonline.com/2015/03/sharjah-biennial-12/ Kevin Jones. Biennial12»,Flash «Sharjah Art, March 16,2015. Galerie Chantal Crousel Sharjah 12:“ThePast, Biennial the Present, the Possible” 5,2015,at untilJune canbeseenfrom various now venues inSharjah. woven mats andKorean news playing program onatelevision. Photoby HGMastersforArtAsiaPacific. ture, such aswind towers, with vents, modern shippingcontainers, andbricks blocks, andconcrete asmallroom andfeatured with inordertodevelop itsoilindustry.to theGulf Sharjah’s architec Hercourtyard traditional - installation combined attributes of HAEGUE YANG’s Korean expatriates who, AnOpaqueWind largely of inthe1970s, (2015)drewonthehistory were recruited Past, thePossible,” ArtAsiaPacific thePresent, afullreview before ispublished intheMay/June issueof that make themakin todisplays at today’s thememorable projects from “The artfairs. Here’s alookat ahandfulof anexhibition thanafestival, asJoo away nudgedthebiennialformat wasresult of from more wide-angled superficiality Joo insteadshowcased indepthorcreated opportunitiesforambitious, artists’practices site-specificsoloprojects. The emirate. Eschewing presentationandheavy thegrab-bag polemicalthemescommonlythe Gulf deployed inbiennials, artists andgroups from 25countries, with several many new sitesaround newly commissionedprojects andtheuseof 50-plus Curated by EungieJoo, Biennial12,“The Sharjah Past, thePossible,” thePresent, acompactlineupof featured HG Masters. «Field Trip: Biennial12»,Artasiapacific Sharjah , Vol. X,March 9,2015. http://artasiapacific.com/Blog/FieldTripSharjahBiennial12 Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel Kito Nedo. «The multiple registers and references in the work of Haegue Yang», Haegue Kito Nedo. inthework «The multiple andreferences Frieze, registers of n.19,Mai2015,pp. 78-87. Galerie Chantal Crousel ArtReview Asia Hong Kong Special Edition, 2015. Kong SpecialEdition, «When AsiaHong ArtReview HemanmetHaegue», Galerie Chantal Crousel ArtReview Asia Hong Kong Special Edition, 2015. Kong SpecialEdition, «When AsiaHong ArtReview HemanmetHaegue», Galerie Chantal Crousel ArtReview Asia Hong Kong Special Edition, 2015. Kong SpecialEdition, «When AsiaHong ArtReview HemanmetHaegue», Galerie Chantal Crousel ArtReview Asia Hong Kong Special Edition, 2015. Kong SpecialEdition, «When AsiaHong ArtReview HemanmetHaegue», Galerie Chantal Crousel ArtReview Asia Hong Kong Special Edition, 2015. Kong SpecialEdition, «When AsiaHong ArtReview HemanmetHaegue», Galerie Chantal Crousel ArtReview Asia Hong Kong Special Edition, 2015. Kong SpecialEdition, «When AsiaHong ArtReview HemanmetHaegue», Galerie Chantal Crousel ArtReview Asia Hong Kong Special Edition, 2015. Kong SpecialEdition, «When AsiaHong ArtReview HemanmetHaegue», Galerie Chantal Crousel still wishestoexplore. that willappearatthe Taipei BiennialandMediacitySeoul,aswellthechallengesshe her practice,thissecondpartdelvesintoupcoming projects,andinparticulartheworks this twopartinterviewinvestigatesherearlierworks,andsomeoftheideasunderpinning tural ensembleofso-called‘SonicSculptures’ forMediacityinSeoul. While thefirstpartof Men andFemaleNatives(2010)whichwillbeshownatthe Taipei Biennialandthesculp- of herworkandtheongoingdevelopmentexplorationpractice,namelyMedicine Two presentations oftheartist’s workthisyearwillserveastimelyremindersofthescope obscure afarreachingexplorationofbothmaterialsandideasthathascontinuedtoevolve. While venetianblindshavecometobethemostrecognisablemotifof Yang’s practice,they and delveintoacacophonyofsocial,historicalpoliticalnarratives. visually abstractsculpturesandinstallationsthatoftenevokethesensesonseverallevels She isbestknownfordrawingonawiderepertoireofordinaryhouseholdobjectstocreate Haegue Yang (b.1971)isaSouthKoreanartist,wholivesandworksinBerlinSeoul. AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Galerie Chantal Crousel in Seoul,whichisfactmyfirstworkingspaceeverotherthanBerlin. Seoul inFebruary2015.Iamconceivingsomenewpieces,whilesettingupasecondstudio cific Triennial inBrisbane.Oneofmycurrentareasfocusissoloexhibition atLeeum, jing, Berlin,BrusselsandpresentationsatBiennales,suchasSharjahBiennale Asian Pa- There arealsosomependingprojectsin2015and2016,includingsoloshowsSeoul,Bei- sculptures forMediacityinSeoul. Contemporary Art MuseuminHoustonandlastly, asculpturalensembleofso-calledsonic Biennial, blindinstallationMountainsofEncounterfrom2008forathree-menshowatthe tions: thereisthelightsculpturesMedicineMenandFemaleNativesfrom2010for Taipei juxtaposing themwithanewcontext. There isonegroupshowandtwoBiennaleparticipa- There areonlyseveralprojectsonthisyear, oftenwhereIwillbeshowingolderworks,yet What projects doyouhavecomingup? WHAT NEXT Photo: StudioHaegue Yang Courtesy ofKukjeGallery, Seoul 173 x54cm plated bells,metalrings Steel frame,metalgrid,powder coating, brass Sonic FullMoon–MediumRegular#2 Haegue Yang AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ , 2014 Video: NilsKlinger Installation viewofdOCUMENTA (13),Kassel,Germany, 2012 SBS Prism Tower Art Collection, Seoul Dimensions variable re, powdercoating,steelwire,cable,modulebox,DMXrecorder Motorized aluminum Venetian blinds,aluminumhangingstructu 2012 Approaching: Choreography Engineered inNever-Past Tense, Haegue Yang - Galerie Chantal Crousel multiple culturesandcommunities. plants addressesvariousvegetationandclimates; andisalsomadetodrawalandscapeof Questions onhumankind’s achievements andpursuitscomeintoplaytoo. The selectionof an extraterrestrialbeing? Isn’t allthatweseekorobtainartificial,insomeway?Isournaturefactessentiallyakinto as indigenousfemaleswhohaveacloserelationshiptonaturethatisapparentlymanmade. around understandingsofnatureandartifice.Onecouldpossiblyrelatetothesesculptures ways. Forexample,inusingartificialplantsforFemaleNatives,thereisanevidentnarrative decontextualizing them-allowingtheirinherentqualitiestoemerge innewandunfamiliar on theassociationsandoriginsofindustrial,readymadeorhandcraftedobjects,while Each setofsculpturesareadornedwithelaborateornamentsandIworkintuitively, drawing works? Is there aspecificsignificanceinthe process andmaterialsyouusedto create these with absolutefaith;andtheloverwhocourageouslyexposesthemselftoother lue. Forinstance:thewarriorwhofightsforsomethingwithintensity;believerlives prompted metoconsiderarchetypeswhoselivestestifydeepcommitmentaparticularva- res since2006andwhenthinkingaboutthetitle,human-likequalityofthesesculptures conjuring upfiguresimbuedwithpersonalityandhistory. Ihavebeencreatinglightsculptu and handcraftedmaterialssuchasartificialplantswigsaroundacommercialmetalstand, Natives. Eachlightsculptureisacompositionofbulbs,electriccordsandreadymade groups, couplesandindividuals,includingthegroupofsixMedicineMenFemale tion ofthirty-threeanthropomorphiclightsculpturesthatcanbefurtherdistinguishedinto Originally conceivedforKunsthausBregenzin2011, Warrior BelieverLoverisaselec- creating thisgroup ofsculptures? Warrior Believer Lover thatyoucreated in2010. What wastheimpetusfor originally Both MedicineMenandFemaleNativeswere partofalargegroup of33sculptures, You willshowMedicineMenandFemaleNatives(2010)atthe Taipei Biennial2014. TAIPEI BIENNIAL 2014 AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ . - Galerie Chantal Crousel unexpected narrativesor emotions. am alsointerestedinhow thechanceencounterswithanobjectcanopen upnew, and sometimes gely familiar. Iam interestedinbothmyownprocessofdiscovery, and alsothatoftheviewer. I items, decontextualizesand transformstheminsurprisingways. They becomeforeign,yetstran- conventional readingsoftheseobjects. Assembling theseobjects,oftenordinaryanddomestic an insightintocrisscrossingmigratoryandtrade routes. Yet, oneshould venturebeyondthe The originalshapesandsubstancesofthereadymades areretainedandthesculptureisattimes, appearances to‘connect’ themselvestospirits,inhabitinganotherworld. also partofthetransformationthatshamanswent throughwhentheyintendedtransformingtheir feather dusters,driedspices,plantleaves,andeven seashells,reinforcethisambiguity. Wigs are an ambiguousgender. A myriadofdecorativeobjectsfrommylartotinsel,aluminumreflectors, title’s masculineconnotations.Ifwelook atmedicinemeninanimalisticreligions,manyassume Medicine Menaredeckedoutwithpartywigsofmultiplecolorsandhairtypes,destabilizingthe And whataboutFemaleNativesmalecounter-part, MedicineMen? AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Courtesy ofGalerieChantalCrousel Photo Credit:FlorianKleinefenn Chantal Crousel,Paris,France,2013 Installtion viewofOvalsandCircles,Galerie Sonic Dances,2013 Haegue Yang Photo: Thor Brødreskift Motions, Bergen Kunsthall,2013 Installation viewofJournalEchomimetic Haegue Yang Galerie Chantal Crousel Photo: FlorianKleinefenn Crousel, Paris,2013 Installation viewofOvalsandCircles,GalerieChantal Private collection, Trets 103 x738cm grid, brassplatedbells,nickelmetalrings Steel sheet,powdercoating,ballbearings,metal Sonic RotatingOval–BrassandNickelPlated#3,2013 Haegue Yang AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Photo: KimSang Tae Korea, 2010 Exhibition viewat Voice over Three, Artsonje Center, Seoul,South Leeum, SamsungMuseumof Art, Seoul ‘French Bread’,‘Coffee Shop’,‘GarlicButter’) ‘Fresh CutGrass’,‘Earth,DinosaurDung’,‘Buddha Temple’,Air’, sound system,microphone,speaker, amplifier, scentemitters(‘Fresh coating, steelwire,movingspotlights,mirror, infraredheater, fan, Aluminum Venetian blinds,aluminumhangingstructure,powder 2008 Series ofVulnerable Arrangements –ShadowlessVoice overThree, Haegue Yang Galerie Chantal Crousel presentation ofalternativeparadigmaticformulasforunderstandingidentity. lonial discourse.Iammoreinterestedintheconceptof‘detour’ -thestrategyofdiversionand is, stilltoday, anissueforartists.ButIamlessinterestedinpoliticalcorrectnessaroundpost-co- only thosefromwithinweredeemedcapableofproducingexoticart. The ambiguityofexoticism gan andmysteriousorigins,theywereconsideredexoticwhichironicallyworkedagainstthem,as same radicalismclaimedbyGauguin,Picasso,andotherParisianartists. As Russiansbearingpa- my lightsculptures. Written fortheBalletsRusses,primitivismofdancedidnotenjoy and thumpsdominatedthechoreographyofNijinsky-areflectionanticlassicaltrajectory of In completeviolationofclassicaltraditionsandrepresentingasacredpaganritual,shudders,jerks capture themomentofcommunityinconstantmutation. juxtaposing theprimitivewithindustrialized;andultimatelyinpursuitofhybridbodiesthat nalized culturalsubjects,demonstratingthedifferent topographyandchronologyoftheglobe the ballet.ItisasifsculpturesareNijinsky’s dancers,gatheredtogetherashistoricallymargi- Native Indian’s springritualintheradicaleclecticchoreographyandchallengingmusicalscoreof which inturnareintendedtobuilduponthosealreadyimpliedbyStravinskyandNijinsky’s useof the balletandallusiontoIslamicprayer, weencounterlayersofmultiple culturalreferences, pomorphism ofthelightsculpturesandasynchronouslayeringritualisticpractices. Through choreography wasby Vaslav Nijinsky. Itsdissonanceandprimitiverhythmsunderlinetheanthro- written forthe1913ParisseasonofSergei Diaghilev'sBalletsRussescompany;andtheoriginal (1913) isplayedtwotothreetimesadayandattheIslamicprayerhour. The RiteofSpringwas For installationsofMedicineManandFemaleNatives,IgorStravinsky's The RiteofSpring Field. Canwediscusssomeofthesereferences? the balletandorchestral concertwork, The RiteofSpring to Walter deMaria’s Lighting the sculptures in Warrior Believer Lover refer toamultiplicityofculturalreferences from Research intocultural,socialandpoliticalhistoryoftenunderpinsyour work.Iunderstand AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Photo ©2009Museum Associates/LACMA rary Artists fromKorea,LACMA,LA,USA 2009 Installation view, Your BrightFuture:12Contempo- Haubrok Collection,Berlin on foureuropallets Collection ofvariouswrappedandstackedartworks Storage Piece Haegue Yang , 2004 Galerie Chantal Crousel AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Photo: Nozomi Tomoeda den HausderKunst, Munich,2012 Installation viewofDerÖffentlichkeit –vondenFreun- Gallery, Seoul Courtesy ofGalerieChantalCrousel,ParisandKukje Dimensions variable powder coating,steelwire Aluminum Venetian blinds,aluminumhangingstructure, Volume ofDispersion,2012 Accommodating theEpicDispersion–OnNon-cathartic Haegue Yang Photo: Markus Tretter genz, Austria, 2011 Lover, Arrivals, KunsthausBregenz,Bre- Installation viewofWarrior Believer Haegue Yang Galerie Chantal Crousel at ajunctionoflines. Orbits, Windy Orbit–BrassPlatedand Windy Orbit–BrassandNickelPlated(2013), areplaced implying akindoforbitalconstellationwhileSonicDance–HalfSister(2014)andtwo Windy Regular #2(2014)ishungfromtheceiling,rightabovestartpointoftapeddrawing, On thegroundfloorofMediacitySeoul,asphericalbellsculpture,SonicFullMoon–Medium counsel, traditionandhopetothedominantnarrativesoftoday. aresummonedbackasalternativevoicesof era, typifiedbythe‘Ghost,SpyandGrandmother’, or undertheradararebeingawakened. These otherworldlyandtraditionalfiguresfromapast economies poweredbytechnologicaladvancements,figureswhosevoiceshavebeensilenced cio-political climatein Asia ofrisingnationalismandmutualdistrust,underpinnedby contribution tothiseventisverymuchdrivenbythesekeywords. Against theprevailingso- “Ghosts, Spies,andGrandmothers”,isthethemeofupcomingMediacitySeoul,my I willcreateanentirelynewensembleforMediacityinSeoul. Tell meaboutwhatyouwillbeshowingatMediacitySeoul,whichopenssoon? MEDIACITY SEOUL AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. Photo: Andy Keate Installation viewofLethalLove, Cubitt,London,2008 Courtesy of Artist Pension Trust, Berlin standing mirrorwall,movingspotlights,scentemitters(wildflower Aluminum Venetian blinds(gunmetalgray, perforated), hangingstructure,free- Lethal Love,2008 Haegue Yang http://ocula.com/magazine/conversations/haegue-yang-part-ii/ , gunpowder) Galerie Chantal Crousel close toa‘perfectgeometry.’ material. This spinningtransformstheovoidshapeof the pieceintoacircularform,moment geometric formthatoccurs throughtherotationsuggest‘unlearning’ In theupperfloor, arangeofSonicRotating Ovalsarehung,wherethe‘blurring’ oftheinitial order, whichis lessrational,yetvaluabletoreconsiderpre-determinedwaysofthinking. floor ofSeoulMuseum ArtsatMediacity willconstructaconstellationofanimaginarycosmic on thewind,soundsandpatternsthatmovement brings tothework. these visualaswellthenon-visualsensorialand metaphoricaspectsareaccentuatedbyfocusing The bellsalsomirrorandthereforemultiplytheviewer’s reflection.IntheMediacity presentation, rigid figures. pment, thebellsseemtobeendowingalife-giving andcommunicativequalitytorobot-like for shamanicrituals,callingouttothespiritsthroughtheirsound.Inmyrecentsculpturaldevelo trigger associationswithancienttimesinthehistoryofcivilisation,wheretheywereoftenused are createdbybellsattachedonthesurfaceofmetal-meshstructures. could actually‘dance’ withthesculptures,supplyinggivenspacenewsoniceffects that resulted fromeachmovementisoneofthefocalinterpretationsthisensemble. The notionsofmovementanimatedbyvisitor’s manualinput,aswellthecosmicgeometry I understandmovementisveryrelevant totheseworks? AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Courtesy ofGalerie Wien Lukatsch,Berlin Edition of30 16 b/woffset prints,each42 cmx29.7 Traces of Anonymous Pupil Authors, 2001 Haegue Yang This ensembleontheground The bellsareintendedto oftheoriginalformand The viewer - Galerie Chantal Crousel or summaryinthesense ofanunderstandablemessage. to understand;anditshould ratherresisttheconventionalideaofpossessing acommonthread words, anartisticpracticeshouldbesomethingactual; somethingtoexperience,notnecessarily ding ofhowhumaninterestsextendbeyondthegiven boundariesandcategorisations.Inother ters easily. Infact,Iamalmostignoranttothat.Myaspirations relatetofosteringanunderstan Well, Iguessamnotanartistwhosepracticecouldbeboundtospecifictopics orsubjectmat who youare asanartist? will bepresented atMediacitySeoul2014–isthere acommonthread thatyoufeeldefines tures in Warrior Believer Lover (2011) or theSonicRotatingOvalsandDancesthat nymous Pupil Authors (2001)toStorage Piece(2004),tomore recent worklikethesculp- When lookingbackover thecourseofyour career –from earlyworkslike Traces of Ano- REFLECTION Photo: Nick Ash 180 x90110 cm reflector color, lacquer, metalring,chain,milar, aluminum Clothing rack,casters,lightbulbs,cable,cord,water- Medicine Man-Indiscreet OtherWorld , 2010 Haegue Yang AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Photo: FredDott Hamburg, Germany, 2008 Installation viewof Wessen Geschichte(WhoseHistory),Kunstverein, Courtesy ofGalerie Wien Lukatsch,Berlin ting, steelwire,movingspotlight,floodlight,platformladder, cable Aluminum Venetian blinds,aluminumhangingstructure,powdercoa- Mountains ofEncounter Haegue Yang , 2008 - - Galerie Chantal Crousel with mywork,oranideafosteredbythework. I wouldratherhearfromtheaudience,writerandvariousrecipientsadesiretointeractfurther ment iswhatunknownmentaladventuremyworkattemptstocauseandgoesbeyondthat. the bestpersontoanalyseitordrawconclusionsfromit. The onlythingIcouldtellforamo There isanevolutionofartist’s practiceandevenifIfeelamawareofthis,might be not AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Photo: Nick Ash 200 x90110 cm cones, seashells,hairrollers mâché, watercolor, lacquer, metal ring,metalchain,pine Clothing rack,casters,lightbulbs, cable,cord,wig,paper Medicine Man- A GoodHunk ofSafety Haegue Yang Paulo Photo: JuanGuerra,FundaçãoBienaldeSão São Paulo,Brazil,2006 to Live Together, 27.BienaldeSãoPaulo, Installation View ofComo Viver Junto–How T. B. Walker Acquisition Fund,2007 Collection of Walker Art Center, Minneapolis, emitters (‘Wood Fire,’ ‘FreshLinen’) photocopies, foundobjects,seating,scent midifier, infraredheater, fan,origamiobjects, DV-PAL Trilogy, MDF, spotlight,mirror, hu- ging structure,powdercoating,steelwire, Aluminum Venetian blinds,aluminumhan- Room, 2006 Series ofVulnerable Arrangements –Blind Haegue Yang , 2010 - Galerie Chantal Crousel I lookforwardtoanewcomplexanddifficultchapterstrugglethrough. chapter ofchallenges.Sincemydevelopmentfrom2006uptonowhasbeenrichandrewarding, creation ofanewwayperception.Itislongway…,butIguessamwillingtoface whatever Iattempttodelveinto,requiresavisualresponsethroughmaterials,methodandthe cious task underlying all the projects I am currently conceiving. It is exciting and terrifying, since guess itwillbealong-termengagementthatoccupymeforwhileasanalmost-subcons- Middle EastandCentral Asia anduptotheso-calledFarEast(overIndiaorviaCentral Asia). I also generallywouldliketofurtherexplore Asia asaregion,whichrangesfromIstanbulviathe Well, IwishtoexploremoreaboutKorea,especiallythesignificanceofcountry’s division.I ped into? Is there anythinginparticular youfeelwouldliketoexplore thatyouhavenot yettap- AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Photo ©RomanMärz Courtesy of Wien Lukatsch,Berlin each 37x52cm,framed photography 18 Plates,originalwritingsonpaperor 2006/2007 Quasi MB–intheMiddleofItsStory, Haegue Yang Photo ©RomanMärz Courtesy of Wien Lukatsch,Berlin each 37x52cm,framed photography 18 Plates,originalwritingsonpaperor 2006/2007 Quasi MB–intheMiddleofItsStory Haegue Yang , Galerie Chantal Crousel Photo: Tom Little burgh, USA,2008 Installation viewofLifeonMars,the55thCarnegieInternational,Museum Art, Pitts- Courtesy ofGalerie Wien Lukatsch,Berlin ght, floodlight Aluminum Venetian blinds,aluminumhangingstructure,powdercoating,steelwire,movingspotli- Three Kinds,2008 Haegue Yang AnnaDickie. “Oculaconversation. Yang Haegue -Part II”,Ocula,2014. http://ocula.com/magazine/conversations/haegue-yang-part-ii/ Galerie Chantal Crousel réenne poursuitsontravail conceptueldemiseenscèneetpoétisation desarticles duquotidien. Arts. Danssonexposition «Equivoques» présentéedansdeuxlieuxàStrasbourg, laplasticiennesud-co- par EricLoret Yang,Haegue complimentd’objets Gal. Ch.Crousel, Paris «Blind Curtain-Flesh BehindTricolore», 2013.-PhotoM.Bertola.MuséesdelaVille de Strasbourg. Courtesy ter unedanse dada. danslesquels levisiteurestconvié encostumesdélirants arrangés àseglisser pour, peut-être, interpré- ChantalCrousel àParis,galerie Vehicles, aussi,sesDress vénitiens, des stores encore richement décorés, deCassel:Approaching désaffectée inNever-Pastgare :ChoreographyEngineered Tense (2012).Ala rails dela lentementau-dessusdes fermant etse vénitienss’ouvrant l’an passé,uneflopéedestores On avait vuletravail Yang, deHaegue séoulienne deBerlin,àl’expo autres «documenta(13)» entre http://next.liberation.fr/arts/2013/08/22/haegue-yang-compliment-d-objets_926401 Eric Loret. “Haegue Yang, “Haegue Eric Loret. complimentd’objets”,Libération, August 22,2013. Galerie Chantal Crousel Origamis. LaMaladie…,onlesait,estsocle de«Lacommunauté négative», article deMauriceBlan- foisàKasselavecfois laMaladiedemort, dontladernière Jeanne Balibar. Duras. Yang Haegue Normal, comptel’écrivaine sessources etelleadéjàmisenscèneplusieurs parmi vulnérable de"communauté d’absence".»MauriceBlanchot Oncroiraitentendre revisitant Marguerite et l’idéequelquepeufragile mais"(en)commun",corps étrange oùpuisseprendre en placeuncadre créer danslepublicd’immédiateté j’entendsaussimettre uneimpression etd’accessibilité. Cefaisant, Yangques»), Haegue […] explicite: «J’aimerais sensorielle qui régit son œuvre le principe de contrariété de2006pourleBAK Dansunentretien Contrariété. àpartirducatalogue d’Utrecht(traduit d’«Equivo- enmain,etl’onnepeutpas. delesprendre on l’ignore), Onaenvie debureau. série des«A»qu’enfournitures dedécrocher cesWhatever Beings(pourquoifaire, la inhabituelle «déviante»,puisquenousneconnaissonsgénéralement etlittéralement sous uneforme internationales.A1, A2,A3,A4etA5,quisontdesnormes Lerésultat estlamatérialisation d’unétalon lés danslemur, maisinclinésd’uncôté,etdansles taillesexactesA0, des papiersdeformat à10degrés murales«sculptures avec déviationvers tangentielle lehautet surlecôté»,àsavoir desrectanglesmou- : ainsid’unmiroir ovale vers retourné lemur (Back,Whatever 2006)ou desfrustrants Beingsde2011, comment ceux-ciglissent desmainsetsynapses, commentilss’imposentànoustoutenserefusant doncàpeuprèsquec’estsurl’appropriation,On comprend dontonsaisitlesobjetsetidées, lafaçon depapier. del’artistedanslafeuille oculaire trajet obtenucompteàlafoisdesuspension (mauvaise) letrait rendant texte dubuset dansunjournal, sick Drawings (2006),crééenbussurdesroutes cahoteusesduJapon,oùYang desblocs entourait de desélèves témoignantduplandelecture de lapage, leursmains, quil’onteueentre commepourCar- (lignes,scolaires encadrés, etc.) plusqu’unesortededessinétrange dontletexteIlnereste aétéeffacé. Anonymous PupilAuthors demanuelstuelle :Traces (2001,jamaisexposé jusqu’ici),dessoulignages of plustôt,YangEncore obligé delacréation passage concep- auxtraces, grand s’étaitintéressée autre ne voyons quecenousenavons apprisàvoir. immortalisé lesmêmesobjets, quel’artprécèdeleréel,dontnous animauxetlieux:oùl’onserappelle oucouleurscar,res enherbeontsouvent lesphotographes àlapetitetailleduvillage, euégard defait, pondant àunécolier. Enface,lesmêmesclichés parl’artisteenfonctiondesthèmes, réorganisés matiè- deleurprisevue, dansl’ordre chaque lignecorres- d’unhameaunippon.D’uncôté,lesimages fants Study, «anciennes»(Picture Une desesœuvres 2003)consisteendeuxmurs parlesen- dephotosfaites der -onnevalesmalins. pasfaire potentiellement inversables, l’univers Yang deHaegue n’est pastrès aiséàrésumernimêmeappréhen- de papiersmillimétrésnonstandards)etdesgestes, sont entissantun«milieu»oùtouslesrapports del’espace(GridBloc, série Hameau. Résistance,passifsparréarrangement oppositionetcontre-pied confiance. Certificate estunboutdepapier, soncontenuetla estuneépreuve mentale, fondéesurl’engagement livre àceluiquil’achète(uncodebancaire,unmotdepasseenligne, unsecret etc.). du Sil’interface quiconsistentencontratsconclusdesquelsYangœuvres l’artisteetleursacquéreurs, entre auxtermes cohabite avec lesexpériences sensoriellesdesstores. Avec lesCertificates (2010-2011),par exemple, Yang, expodeHaegue française grande proposeStrasbourg lapremière 42ans, oùleconceptuelplusdur http://next.liberation.fr/arts/2013/08/22/haegue-yang-compliment-d-objets_926401 Eric Loret. “Haegue Yang, “Haegue Eric Loret. complimentd’objets”,Libération, August 22,2013. Galerie Chantal Crousel en plis. «l’état animalouaniméparexcellence :l’inquiétude»,commedisaitGillesDeleuze, quis’yconnaissait del’artisteressemblent ainsiàdesorigamis,dépliables Lesarrangements fait. etrepliables àl’infini, Yang,Haegue estd’origine, puisquetoutescesenveloppes ontétéouvertes. estdeson Ledécoupage pes, déchirésetassemblés d’uncôté,découpésdel’autre parcouleursouformes. Ladéchirure, explique dans lesTrustworthies géométriquesréalisésàpartirdemotifsd’envelop- collages de2012-2013,grands à lalimiteducinétique(Rotating Notes, 2010)etdel’opart(65,21m235,2013)maissurtout YangLes tendancesdeHaegue àl’ouverture, audéploiement,àladanse,dansdesœuvres semanifestent àleurcapacitécachée37). insignifiants etm’intéresser d’accueillirautre chose»(catalogue page etlavariété.accepter ladifférence deschoses […]J’aime"lire" dansdesobjetssimplesetapparemment objets trèshétérogènestouchante. estpresque pour ougénéreux Commes’ilétaitsuffisammenttolérant :«Pour àl’instarduportantoudel’étagère «généreux», moi,cettecapacitéduportantderecevoir des en2D, dépliésetécrasés dienne oud’origamis lesobjetsmisenscèneparYang sontvivants et,dit-elle, quoti- leurgymnastique defaire entrain detancarvilles(2006-2011),photographiés Qu’il s’agisse phie :àlafoisaccueiletannulation. Yang inversé ungeste dela«communauté parlachorégra- d’absence», quiestle«déploiementducorps» peuàladanse, s’intéressait autantqu’onserappelle.chot. Cedernier Ilexiste enrevanche chezHaegue http://next.liberation.fr/arts/2013/08/22/haegue-yang-compliment-d-objets_926401 Eric Loret. “Haegue Yang, “Haegue Eric Loret. complimentd’objets”,Libération, August 22,2013. Galerie Chantal Crousel http://www.rue89strasbourg.com/index.php/2013/08/14/culture/haegue-yang-strasbourg/ imagination. des photo-montages, descadavres-exquis, qui dénotentdelarichesse dessonsetsculptures deson un éclatement despropositions plastiques del’artiste, on ytrouve des installations, desphotographies, rés quidessinentetmasquent l’espacedanslequelnousallonspénétrer. Au Mamcs, à noussommesface Yang. d’Haegue revient dans l’œuvre régulièrement d’unensemble Ici,ils’agit répartisencar- destores Flesh behind Tricolore. vénitien estl’undesmatériaux Sortedemoucharabieh lestore qui moderne, l’espace,deBlindCurtain– accueille. ils’agit installation sertàlafoisouvriretfermer Lapremière Au deStrasbourg,aunéonfroid musée etcontemporain c’estunéclairage quinous d’Artmoderne de misesenscène. :deuxlieux,ambiances protéiforme dualités enuneœuvre avec une multiplicité desmatériaux et cet étéaumuséeetl’Aubette d’artmoderne 1928avec Équivoques. Yang Haegue mêleambiguïtés et Yang,Haegue jeuneartistecoréenne, aétéinvitée parlesMuséesdelaVille ets’yexpose deStrasbourg Lola Juan. Yang “Haegue auMAMCSetàl’Aubette :invitation àselaissersurprendre…”, surprendre… YangHaegue auMAMCSetàl’Aubette :invitation àselaisser Yang neaux, 60x82cm,8,90kg, CourtesydelaGalerieChantalCrousel, Paris, France, photo:StudioHaegue Yang,Haegue «Sonicwear –Poncho »,Nickel Plated,portable, 2013,sculpture clochettes ennickel etan- Rue89Strasbourg, August 14,2013. Galerie Chantal Crousel http://www.rue89strasbourg.com/index.php/2013/08/14/culture/haegue-yang-strasbourg/ tric Folding. Non-Geome- aplatit ensuiteetnouslesdonneàvoir encadrésdanslasérie Non-Foldings –Scenarios of Tipping, desrayogrammes, ceux-làondirait série, elleles ceuxqui luiontservipourcettedernière ratés),soit elleprojetteenspray dessusdelapeinture d’origamis danssesNon-Foldings –Geometric (ils’agit danslasériedesImperfections :soitellelesphotographie enfance cocottes enpapierdenotre Pour œuvres,Yang d’autres Haegue quiressemblent utilisecommepointdedépart desorigamis aux commepointdedépart Des origamis perdsonbutetdevientlinge possibilitéd’uncombat établie lanorme pourl’artiste. contre qu’il peutprendre.Yang Haegue joueavec :leséchoir premier à lesobjets,deleurusage lesdétourne positions etlesdifférentes sagymnastique quileprésententcommes’ilfaisait dephotographies s’agit ilestrecouvertla première, alorsque, d’untissubleupourlaseconde, cieletestfigédansuneforme il theFoldables mettentenscèneunséchoir àlinge. Non-indépliable, Dans œuvres azuréouGimnasticsof danscertainesdesesmisesenscène,Elle détourne, leprincipeduready-made desdadaïstes. Ainsi,les auMamcs Rideaux etorigami Strasbourg, 2013,photo:MuséesdelaVille deStrasbourg, Mathieu Bertola nium, 460x700150cm,CourtesydelaGalerieChantalCrousel, Paris, France. Vue del’exposition, MAMCS, Yang,Haegue «BlindCurtain–Flesh behindTricolore enalumi- vénitiensenaluminium,cadre »,2013,stores Lola Juan. Yang “Haegue auMAMCSetàl’Aubette :invitation àselaissersurprendre…”, Rue89Strasbourg, August 14,2013. Galerie Chantal Crousel http://www.rue89strasbourg.com/index.php/2013/08/14/culture/haegue-yang-strasbourg/ tique léchée etmaîtriséequiva depairavec cettepratique. ratés,pratique enlesmontrant détruits, ouendeuxdimensions, ennégatifs ilssontbienloindel’esthé- pays d’origine(pourinfo, elleestcoréennemaisvitettravaille àBerlin) maiselleseréapproprie cette Avec sontravail àpartird’origamis,l’artiste s’inscritdansuntravail minutieuxliéàson ettraditionnel « M’accorderiez-vous cettedanse?», nousdisent-elles. Ilnousestpossible (dansladanse d’yentrer talliques, vénitiens (que l’onretrouve destores etde clochettes. icicomme auMamcs),demacramé montéessurroues, sculptures sontconstituéesd’élémentsmé- de grandes cesdeuxœuvres Il s’agit espaces. Danslasalledesfêtes, parexemple, setrouvent Vehicles deuxDress etYin :Zig-Zag Yang. YangChaque pièceréaliséepar Haegue aétéchoisie par l’artistepourcréerunécho avec lesdifférents Arp. ainsi qu’unfoyer-bar, chaque salleétantdécoréeparThéo Van Doesburg, etSophieTaeuber- Jean Arp deStrasbourg,fête àlafindesannées1920quiréunissait,aucentre unciné-dancing, une salledesfêtes dedécor,Changement ambiance, autre :L’Aubette œuvres autres 1928,espacedédiéauxplaisirsetàla Des clochettes àL’Aubette 1928 2013, photo:MuséesdelaVille deStrasbourg, Mathieu Bertola diamètre, CourtesydelaGalerieChantalCrousel, Paris, France. Vue del’exposition, Aubette 1928,Strasbourg, enaluminium,aimants,cadre tricot,clochettes, cordesencaoutchouc etroulettes, 318cmdehaut,310 Yang,Haegue Vehicle «Dress –Yin Yang performative »,2012,sculpture mobile, vénitiensenaluminium, stores Lola Juan. Yang “Haegue auMAMCSetàl’Aubette :invitation àselaissersurprendre…”, Rue89Strasbourg, August 14,2013. Galerie Chantal Crousel http://www.rue89strasbourg.com/index.php/2013/08/14/culture/haegue-yang-strasbourg/ réapproprie etendonneunenouvelle décaléeetpleined’humour. lecture pas sedélivrer desinfluencesdesesprédécesseurs?Maisellejoue avec cesascendantsdupassé,seles reproché Yang, être àHaegue Elle esttrèsréférencée,cequipourrait parce que, pourquoine eneffet, L’exposition desmusées nousinvite delavilleStrasbourg riche dansuneœuvre et dense. àentrer àlui,vagrâce ànouveau ! résonnerdanscetespaceduciné-dancing:dansez tinterlesclochettesYang Haegue faire quinousrecouvrent. invite delamusique levisiteuràfaire qui, kilos. Unefoisporté,ilestpossible etd’alors d’yajouterdessortesdemenottesoubracelets neuf disposés surdestables delasalleduciné-dancing. aucentre fait Ilssontàenfiler:leponcho argenté Puis, pourfinir, lesSonicwears, ensemble constituésde decostumesdorésetargentés clochettes, sont condensation puisseseproduireencontinu. tie. Lesbouteillessontchangéesparlepersonneldel’Aubette régulièrement afinqueleprocessus de Taeuber-Arp par- pourladécorationdecettesalleetl’inscritainsicommepouvant enfaire vraiment d’autre, setrouvent deuxbouteillesd’eaucongelée. lescouleurschoisies LeplateauparSophie reprend bar souslequelsetrouve uncongélateur etsurleplateau duquelonpeutvoir unventilateur. Departet WindDans lefoyer-bar andCondensation.d’un Ils’agit setrouve of étonnante:Incarnation uneœuvre del’espace.couleur carrés réappropriant etlescouleursqu’elleyassocierépondentauxaplats :lesélémentsparallélépipédiques de des fêtes. Yang Haegue aumouvement hommage rend dadaetauxmurs quil’accueillenttoutenseles àdespoignées, et,grâce ettournoyermais surtoutdanslesœuvres) onpeutbouger danscettesalle Lola Juan. Yang “Haegue auMAMCSetàl’Aubette :invitation àselaissersurprendre…”, Rue89Strasbourg, August 14,2013. Galerie Chantal Crousel Galerie Chantal Crousel, Paris.Photo:Studio Haegue Yang. nickel-plated bells,rings, 60×82cm,8.90 kg.Courtesy HAEGUE YANG, Sonicwear–Poncho,NickelPlated, 2013, HAEGUE YANG, Dress Vehicle –ZigZag,2012,mo de Strasbourg, MathieuBertola. Aubette 1928,Strasbourg, 2013.Photo:Muséesdela Ville Courtesy GalerieChantalCrousel,Paris.Installationview, bells, rubberropes,castors,278cmhigh,343diameter. powder- coatedaluminiumframe,magnets,knittingyarn, bile performativesculpture,aluminium Venetian blinds, http://artasiapacific.com/Magazine/WebExclusives/FamilyOfEquivocationsHaegueYang HG Masters. “Family of EquivocationsHG Masters. Yang”, “Family Haegue of - much more freeto betheirown curiousthings. In return tothe early20th-centurywhen artworkswere crete. Yet Yang’s recentsculptures, ashybridobjects, century avant-gardedisciplines lookcodifiedanddis the vantagepointoftoday, when theexhausted20th- film, dance,musicandtheater—is perhapslostfrom including painting,sculpture, architecture,design, The comminglingofthemodernandpopulararts— spent theeveningsincompanyoffriends. and thepopularartsoffilmdancing,where locals War II,L’Aubette wasa templetobothabstraction square panelsonthewallsandceiling.Before World cing hall,includingafilmscreen,withlarge, colored modern banquethall,foyer-bar areaandCiné-Dan Art.” Together theyproducedajubilantandelegant was intendedtobethe“SistineChapelof Abstract der oftheDeStijlmovement,tojointheminwhat l’Aubette. They invited Theo vanDoesburg, foun- a newsocialspaceattheheartofcity, theCaféde Switzerland andtherewerecommissionedtodesign 1926, thecouplehadrelocatedtoStrasbourg from by thatofherhusband,fellowDada-istJean Arp. In vist. Herwork,however, wasoftenovershadowed Zürich’s DadamovementandanearlyConstructi carbon monoxidepoisoning,wasamajorfigurein maker anddancer, who,untilherdeathin1944of Sophie Taeuber-Arp, theSwiss-bornartist,textile projects. InStrasbourg, thecentralprotagonistwas tist’s diversesculptures,installationsandconceptual their livesandworksservingasinspirationforthear tragic, women—arecentralfiguresin Yang’s practice, Historical personages—oftenintrepid,andsometimes Camille Giertler. in themakingwithStrasbourg Museum’s curator tion, “FamilyofEquivocations,”aprojecttwoyears Yang’s firstlarge-scale soloshowataFrenchinstitu oft-forgotten momentiscentraltotheplotofHaegue in theinterwarchapterofEuropeanModernism. This the modest city of Strasbourg made a just brief cameo Between themodernartcapitalsofParisandBerlin, Art AsiaPacific, July 2013. - - - - - Galerie Chantal Crousel HAEGUE YANG, CarsickDrawings,2006,ink,tracing pa Photo: Musées dela Ville deStrasbourg, Mathieu Bertola. per, framed 10pieces, each65×47.6 cm. Courtesythe artist. Mathieu Bertola. Gallery, Seoul.Photo:Muséesdela Ville deStrasbourg, framed, 6pieces,each62.4×cm.CourtesyofKukje metric Folding,2013,flattenedorigamiobjects,spraypaint, HAEGUE YANG, Non-Foldings – ScenariosofNon-Geo http://artasiapacific.com/Magazine/WebExclusives/FamilyOfEquivocationsHaegueYang HG Masters. “Family of EquivocationsHG Masters. Yang”, “Family Haegue of - - harks back to Yang’s sculptures from the2009 Korea or forthemeeting ofpastandpresent. The newwork rhaps represent thechancemeetingof tworevelers, rooms ofL’Aubette, the twoperspiringbottlespe throughout theday. Situatedbetween thetwogrand freezer underneathareplaced atregularintervals two bottlesoffrozenwater takenfromasmall black metalfanatopacustom-designedbarwhere of Wind andCondensation(2013),which featuresa down withtheintrospectivesculptureIncarnation where dancersandrevelerscouldcooloff andquiet Between thesetwofestivespacesistheFoyer-bar, performance. invitation totheaudiencemakesomethinglike a are homagesto Taueber-Arp’s Dadacostumesandan strolling, skippingortwirlingaroundthespace. They of sounds—dependingonthewearer’s motionwhile chain-mail armor, andoffer awidepercussiverange handcuffs. All are terrificallyheavytowear, like lets, anklesocks,orelaborate(andvaguelykinky) are likeponchosorvests,othersshawls,brace of nickel-platedbells,somethe“Sonicwears” middle ofthisfilm-viewinganddancesalon.Made “Sonicwears” (2013),wereplacedontablesinthe new seriesofgarmentsmadefromminiaturebells, couraged intheCiné-Dancinghall,where Yang’s Making noiseanddancingaboutwasfurtheren structures, costumes,prototypesandmodels. fully awkwardtosteer, theyareatoncemachines, or closedandtheblindsliftedlowered. Wonder outside, theirmanypointedsidescanbeswungopen inside, awalkerdrivesthesculptures,whilefrom bells andblindsthatmakenoiserattle.Fromthe wheeled (anddanced)aroundthespace,andhave macramé, yarnandbells Venetian blindscanbe ter-tall sculpturesonwheels. The panelsofcolorful exhibition venuefor Yang’s soloshow, arethree-me- Fêtes, inthe Aubette 1928,whichservedasthefirst Vehicle – Yin Yang (2012),locatedintheSalledes Yang’s case,herDress Vehicle –ZigZagandDress Art AsiaPacific, July 2013. - - - - Galerie Chantal Crousel form, and severalworks thathad neverorrarely beenshown before. Greetingone inthemiddle ofthe Inside thegalleries weremanynewworks by Yang, several ongoingseriesshown inanew, fuller abstraction aswehavenot knownitbefore. lightness—are everything thataminimaliststeelsculptureorBarnettNewman canvasisnot. This is a spaceorreflectsthelight off itssurface. Thesehangingstructures—intheircolors, variationsand blind seriesaremadeof a materialthatlightpassesthrough,ratherthan flatstructurethatdominates that commandasingle,frontalvantagepoint,flat surfaceandsolidityofform.Inotherwords,the household material—yet,asanabstraction,itisa sharprebuketotheprinciplesofHighModernism that Yang hascreatedinrecentyears,maybea“domesticated”object—being madeofthissimple and forestgreen—tominglevarydepending onthevantagepoint. This work, liketheirsiblings semi-transparent formsallowthecolors—ranging fromwhite,grayand“flesh-tone”tosolidreds Tricolore (2013),comprisedofsevenverticallysuspendedrows60-centimeter-square shades. The is demarcatedbyahanginginstallationofcolored Venetian blinds,BlindCurtain—FleshBehind thropomorphic presence. Yang’s “FamilyofEquivocations,” locatedinatwo-storeygallerynearby, Dada (1916),aroundedpainted-woodobjectresembling ahatstandandassumingkindofan model ofL’Aubette 1928andmanyartworks byboth Arp and Taeuber-Arp, includingherCoupe The exhibition’s secondvenue,Strasbourg’s MuseumofModernandContemporary Art, housesa ideals longaftertheiroriginatorshadphysicallydepartedfromtheworld. was ananalogyforhowintellectualideasbecometangiblerealities,orthesurvivalofprogressive and heat-lamps.Intheseworks,themotifof“condensation”(thetransformationvaporintoliquid) Pavilion atthe Venice Biennale,“Condensation,”andanearliercycleofherworksthatfeaturedfans http://artasiapacific.com/Magazine/WebExclusives/FamilyOfEquivocationsHaegueYang HG Masters. “Family of EquivocationsHG Masters. Yang”, “Family Haegue of Strasbourg, 2013.Photo:Musées dela Ville deStrasbourg, MathieuBertola. × 68.1cm.CourtesyGalerieChantalCrousel,Paris.Installationview, MAMCS, 2013, variousenvelopesecuritypatterns,framed,11 pieceseither98.1×or68.1 HAEGUE YANG, CentralComposition inExplosion– Trustworthy #184,2012– Art AsiaPacific, July 2013. - Galerie Chantal Crousel abstractions thatdonotprivilegeonevantagepointormaterial—theyareaspectsofalar While the“dancingobject”and“abstractioninmotion”arekeymotifs (2013) usesmorecomplicated,octagonalforms. ple framedpanels,andonthefourthwallCentralCompositioninExplosion— Trusthworthy #184 — Trusthworthy #183(2013)takesupthreewallsofthegallery, thecolorfulformsspanning multi collages madefromthesecurityliningsofenvelopesandgraphpaper Akiyoshidai regioninJapan. A wholeroomupstairsisdevotedtothe Trustworthies, whichare Yang’s ged tracingsaroundtheperimeterofarticlesinJapanesenewspaperswhileridingbusrural and abstractionarisesagaininthenever-before-seen CarsickDrawings(2006). Yang madethejag talog clippingsoflightbulbs,doorhandlesandotherfixturespastedacrossablacksurface.Motion Hardware StoreCollages(2012–13)translatesanimatronic-motionacrossaflatsurfacewithits ca geometric form(theorigamiobject)dancingacrossthepagetoproducetheseimprovisedimages. austere black-on-whiteconstellationsofformsfromtheorigamifigures,returntoideaasingle ving behindonlytheiroutlineforms). ries (worksmadebyplacingorigamiobjectsonpaperandspray-paintingtheinblack,lea (2013), whichareflattenedorigamiobjectsusedforthe“Non-Folding—Geometric On topofthis,onthewallinframesare“Non-Foldings–ScenariosNon-GeometricFolding” 1920s literatureanddance. McGrath), that,inthemannerofSurrealistgame“cadavreexquis,”combinesfigurestakenfrom wallpaper createdincollaborationwithLondongraphicdesignersOK-RM(OliverKnightandRory fabric withits“arms”outstretched—aninadvertentfigure.OnthewallsisEclectic gallery, likeafamiliar, oldfriend,isNon-Indépliable, Azuré (2010),adryingrackcoveredinblue HG Mastersiseditor-at-large of ArtAsiaPacific andisbasedinIstanbul. proposing arevisedunderstandingofabstraction, modernismand20th-centuryhistory. is pushingbackagainst—orevenknowthatthere areany—toappreciatethewaysinwhich Yang is humble, mar knitted sleevesofRollCosies–CashRegisterRolls, 50Meter(2012)are med or“defective”origamiobjectsinthephotograph series“Imperfections”(2010)andthehand- hardware-store catalogs,thereversesideofamirror (apiececalledBack,2006),theslightlymalfor paintings. Materialssuchasthemacramé, Venetian blinds, origami,theinsideliningsofenvelopes, the Dadamovementatlarge. Textiles featurelessprominentlyinthehistory ofabstractionthan berg-Arp herselfhadlongbeentheneglectedpartnerinhermarriagewithJean Arp, andthuswithin conception ofthe“minority”thatrunsthroughout Yang’s worksinStrasbourg. Foronething, Taeu- http://artasiapacific.com/Magazine/WebExclusives/FamilyOfEquivocationsHaegueYang HG Masters. “Family of EquivocationsHG Masters. Yang”, “Family Haegue of ginalized andoverlooked. You don’t havetonamethestructuresandideologiesthatshe The “Non-Folding—Geometric Tipping” works,themselves Art AsiaPacific, July 2013. . DiagonalCompositioninFlow Yang’s oeuvre,theseare Yang’s venerationofthe Totemic (2013),a Tipping” se- ger - - - - - Galerie Chantal Crousel http://fr.blouinartinfo.com/news/story/928039/de-nouvelles-oeuvres-de-haegue-yang-dans- Inès Min.“Denouvelles Yang deHaegue oeuvres exposition d’envergure dans lapremière en “Dress Vehicle – Yin Yang” parHaegue Yang àl’Aubette1928 réchauffer unventilateur, explore davantagecethèmerécurrent. Condensation »(2013),dans lequelHaegue Yang, aumoyendebouteillesd’eaugeléequevient pirées duballetetdéjàprésentées àla Tate Modernl’anpassé,ainsi que«Incarnationof Wind and On ydécouvreaussi«Dress Vehicle –ZigZag»et«Dress Vehicle – Yin Yang »,despiècesins pièce performativeinviteàuneparticipationqui se traduitparunorchestredemouvement. ponchos, foulardsetbraceletsornésdeclochettes. DisposéeautourdelasalleduCiné-Dancing,cette piration. «Sonicwears»(2013)estuneôdeaudadaisme de Taeuber-Arp, etprésenteunesériede Jean Arp —abritelesœuvresplus avant-gardistesdel’artisteetaégalementétéunesourced’ins Le bâtimentdudix-huitièmedel’Aubette—décoré par Théo vanDoesburg, Sophie Taueber-Arp, et fois denouvellesetd’anciennespièces(le«Hardware StoreCollages»de1994). « FamilyofEquivocations»présentelesœuvres lesplusreprésentativesdel’artiste,etcomprendàla sites, l’Aubette1928etleMuséed’artmodernecontemporaindeStrasbourg. d’envergure enFrancejuindernieravecunerétrospectivedemilieucarrière,diviséeentredeux La trèspopulaireartistesud-coréenneHaegue Yang ainaugurésapremièreexpositionpersonnelle France” ,BlouinArt Info,July 9,2013. la-premiere - - Galerie Chantal Crousel http://fr.blouinartinfo.com/news/story/928039/de-nouvelles-oeuvres-de-haegue-yang-dans- Inès Min.“Denouvelles Yang deHaegue oeuvres exposition d’envergure dans lapremière en musée deStrasbourg. Pourvoirplusd’imagesdecetteexposition,cliquezsur lediaporama. “FamilyofEquivocations”courtjusqu’au15Sept. Pourplusd’information,regardezlesitewebdu Corée duSudàla53èmeBiennalede Venise (2009). biographie réflexive. Yang aétélapremièreartistefemmeàreprésenterlePavillonnationalde unique quimêlelesréférenceshistoriquesaveclasociétémoderne,nuancespolitiques,etune Né en1971,l’artistebaséeàBerlinouSéoulbénéficied’uneréputationinternationalepoursonstyle rin, oul’origan. piégés danslevernisdubois,soulignéeparl’artisteavecdesadditifsaromatiques,commeroma Lacquer Paintings»(1995-2012),quiestunecombinaisond’élémentsnaturelsenvironnementaux Son travailantérieurestreprésenténonseulementdans«HardwareStoreCollage»,maisaussi sant ainsi«unefamilled’évocations»titulaires. de figurespost-colonialessuperposéesàl’œuvre Van Doesburg, Arpet Taeuber-Arp —produi libres du«cadavreexquis,»lepapierpeintdépeintlesportraitscompositesd’icônesdeladanse et gners londoniensOK-RM(OlivierKnightetRoryMcGrath).Suivantlastructuredesassociations À cecis’ajoutel’œuvrede Yang «Eclectic Totemic, »créée encollaborationavecleduodedesi velle manière.» de presse.«Cettesérieàlabombequiacommencéen2004,apparaîticiStrasbourg d’unenou- volume d’unobjetetsarestitutionsurunefeuillecommeimagenégative,»ditlecommuniqué « L’approche del’artisteiciestentièrementformelle;cequil’intéressedemeureladiminution spray de«Non-Folding—Geometric Tipping ». Non-Geometric Folding»,etmetenavantunepièceaplatieutiliséepourcréerlabombéeau Une utilisationrecycléedupapierestàl’oeuvredanslanouvellesérie«Non-foldings–Scenariosof d’Art BaselàHongKongenmai. stores vénitiensquifontéchoàsacontributiondanslasectionEncountersl’éditioninaugurale se trouve«BlindCurtain–FleshBehind Tricolore »(2013),uneinstallationinsitumonumentalede La partiemuséeporteunregardpluslarge etlinéairesurletravailde Yang aufildesans.Àl’entrée France” ,BlouinArt Info,July 9,2013. la-premiere - - - Galerie Chantal Crousel as a foil to Field of Transportation’sas a foil to Field of overwhelming imagery. representational jumble of Redefining and At the the opposite gallery end from of the wallpapered room, two subtly rendered geometric works act blind partners. venetian dance her awkward charmingly and make [2006]) beings Foldables [2011–2012])—these Vehicles” the (“Dress walkers of (Gymnastics positions acrobatic various in drying a rack of series photographic her by grace—exemplified surprising with forms os- inelegant imbuingtensibly for Yang’swithpenchant Consistent stand. IV an or ori- chairswivel they like a look to that belonged wheels metal ginally sculptu- of the star a are of feet figures’ sides The arms. three bent like from midsections res’ protrude handles metal respectively. Industrial feet, six seven under and just stand feet Dance and poles Nickel steel vertical Sonic by stabilized are 2013) of (both Dance bodies Brass bell-dazzled Sonic and the amorphous, and Bloated presence. an with humanoid gallery the eerie of center the populate sculptures freestanding two bells, jingle with made Also wall. the on equilibrium its reclaims sculpture the once completelyreverberations ceasing frantic before from jingles ebbs cheery bells to ringing of clamor consequent The manhandled. are be surfaces to metallic meant cool and bumpy objects’ these work, the activate to which at spot designated otherwiseor hearing. Withbutton, and handle, touch no of senses our to appeals here artist the heat, exhibition’slikeand elements scent non-visual title.) experiencesthatKnownincorporate creating for (hence blurs be circular ovalsbecome can the motion theyin Once wheel.money push show game one Witha like axis. spinning sent central a on rotate to designed are ovals the walls, facing on level eye-at stockings.Mounted Christmas or wreaths door decorate to used varietyfestive the bells—of small withcoveredcompletely ovoid forms wall-mounted three are (2013) RotatingOvals Sonic The favored. previously has she origami and maché, paper yarn, the than craftsy less are materials the and abstraction geometric with common in havemore objects recent most Her sphere. domestic the from freed appear worksYang’slatest [2013]), color- Seating Pentagon nine (Facilitating tablesfrom side made vintage sculpture/bench ful a from apart But curios. nonfunctional as reborn are items win- (2010)—a household Yang’sviewerwithuseful wherein radiator) the hybrid—reacquaintsreality dow/radiator alternate (bathroom Solid and Single – 112 Manteuffelstrasse image. photographic own its beneath just wall, the on low installed frame is powdercoatedsteel a room in the blind venetianin small sculpture a actual only The Yang’soeuvre. of microcosm habitable a is table room dining this a ashtray,set, and standing a chairs, easy of pair a with works.Domesticized individual of disorien- a is (2011) Teleportation Yang’s from shots combininginstallation collage digital ting images withof exhibitionsnot-to-scale past gallery.Field the of Rae- end one Manuel at walls designer three withcovers der—that collaboration wallpaper—a photographic in cameo two-dimensional a works,however,signature make These do known. best is artist Berlin-based Korean-born, South the which for sculptures rack drying and installations blind venetian the beyond moves gallery flagship Crousel’sat showYang’s Haegue current satelli- 2012), gallerist’s 7, 18–December the (“Ajar”October at Douane, Crousel La Chantal showroom, te with exhibition solo first her of heels the on Hot http://www.art-agenda.com/reviews/haegue-yang%E2%80%99s-%E2%80%9Covals-and-circles%E2%80%9D/ By Mara Hoberman By Mara Yang’sHaegue “Ovals andCircles” Mara Hoberman. “Haegue Yang’s “Haegue Hoberman. Mara “Ovals andCircles”,” Art Agenda , April 17,2013. Galerie Chantal Crousel 1 Ats itriw ih ed Zcemn aosn n ls At vl 22 JnayFbur 2012). (January–February 282 vol. Art, Flash in Jacobson Zuckerman Heidi with interview Artist (1) forms are unsettling not because they subvert a prescribed functionality, but because they create a new one. geometric everyday,and the Yang’sabstract in latestrooted accessories—remains industrial variouschalk, and magnets, thread, materials—bells, of cache her Though disarticulation. of more experience conceptual a offers Circles” and featuring “Ovals exhibitions settings, labyrinthine previous in her objects than household Subtler functional-turned-fanciful displacement. and disorientation of themes explore continues (1) Yang to “domestification,” of process a as to referred migration. forced has she what of from awaymoving While visualization adizzying evoking slide, and flutter contents boards’ thought a-whirl, the Set energetic. characteristically is presentation postcolonial the heavy, various but is describing matter subject accounts The consider diasporas. to Expo- viewer the (2012). invites Yang Dispersion material, source of Volume her Non-cathartic sing On der Haus – Munich’s Dispersion at Epic installation the recent Accommodating her Kunst, towards Yang’s research from excerpts text. typed fact in of squares are small These with adorned boards magnetic this smooth In are form. oval surfaces rotatingwall-mounts’ the the case, reprises room back gallery’s the in (2013) series Notes” “Rotating The tion associated with Yang’s venetian blind works, this installation inside the is triangle is a simultaneously more orderly delicate and disorienting.evocation Reiterating displacement. of permeability themes and of filtra- spaced 10 cm apart). The effect is like a three-dimensional Sol Le cm Wittapart. Stretching between these walltwo walls,drawing 56.27 m3 forms a hypotenusewherein withred thread (also the lengths of space captured covers two abutting chalk,red walls evenly with thin horizontal spaced stripes fromof floor to ceiling at 10 that have been installed a together large to triangular cordon space the off atgallery. one corner of 27.12 m2 creating space in an entirely different way, 56.27 m3 and 27.12 m2 (both 2000/2013), are two separate works http://www.art-agenda.com/reviews/haegue-yang%E2%80%99s-%E2%80%9Covals-and-circles%E2%80%9D/ View of Haegue Yang’s Haegue View of “Ovals and Circles,” Galerie ChantalCrousel, Paris, 2013. Mara Hoberman. “Haegue Yang’s “Haegue Hoberman. Mara “Ovals andCircles”,” Art Agenda , April 17,2013. Galerie Chantal Crousel Haegue Yang,Haegue 112–Single andSolid(bathroom Manteuffelstrasse Yang, radiator),2010.Haegue Facilitating Pentagon Seating, 2013. Haegue Yang,Haegue SonicRotating Ovals Plated,Yang, – Brass 2013.Haegue SonicRotating Ovals Plated, –Brass 2013. http://www.art-agenda.com/reviews/haegue-yang%E2%80%99s-%E2%80%9Covals-and-circles%E2%80%9D/ Mara Hoberman. “Haegue Yang’s “Haegue Hoberman. Mara “Ovals andCircles”,” Art Agenda , April 17,2013. Galerie Chantal Crousel http://www.art-agenda.com/reviews/haegue-yang%E2%80%99s-%E2%80%9Covals-and-circles%E2%80%9D/ Mara Hoberman. “Haegue Yang’s “Haegue Hoberman. Mara “Ovals andCircles”,” Art Agenda , April 17,2013. Chantal Crousel, Paris, 2013. Yang’s Haegue Views of “Ovals andCircles,” Galerie Galerie Chantal Crousel Eric Simon.“Expo Sculpture Contemporaine: Haegue Yang Haegue Contemporaine: EricSimon.“ExpoSculpture “Ovals andCircles””, by EricSimon Du 15mars-27avril2013 Yang Haegue Contemporaine: Expo Sculpture “Ovals andCircles” Haegue Yang présente un nouveau corpus d’oeuvres, sous le titre titre le sous d’oeuvres, corpus nouveau un présente Yang Haegue fe snr qi vqe e ohi d latse e eir ovmn e eprecs sensorielles. expériences et mouvement relier de l’artiste de souhait le un évoqueclochettes, les qui retentir sonore fait vibration effet recherches moindre La ses corps. prolongeant du Vehicles,participation la Dress et mobilité des la variations sur nouvelles des comme vues être vent xoiin, t paat om u limtv as e pécuain atsius actuelles. artistiques préoccupations sculptures les galerie, ses la de central l’espace Dans dans leitmotiv deux les un dans comme visible reste apparaît mouvement composées le connues et pour plus intérêt expositions, sculptures son des autant, Pour éloignés vénitiens. apparence rideaux en de semblent matériaux les et mes l beae e eie n 09 El vt t rvil atelmn à Berlin. à actuellement travaille artis Sud et une du est vit Corée Elle Elle la Sud). 2009. Douane. représenté du en la à (Corée Venise à installation.Yang Séoul de Ajar et à bienale l’exposition sculpture 1971 la après entre en à mois née visuelle quelques est te Yang, Yang Haegue Haegue de sonnelle a aei Catl rue et erue e rsne l duim epsto per exposition deuxième la présenter de heureuse est Crousel Chantal Galerie La http://www.actuart.org/article-expo-sculpture-contemporaine-haegue-yang-ovals-and-circles-116332295.html March 19,2013. et Dance Brass Sonic dn ls for les dont Circles, and Ovals (2013) peu (2013) Dance Nickel Sonic Actu Art, - - - - Galerie Chantal Crousel Eric Simon.“Expo Sculpture Contemporaine: Haegue Yang Haegue Contemporaine: EricSimon.“ExpoSculpture “Ovals andCircles””, Les des clochettes renvoie au spectateur son reflet et sa physicalité, multiplié par le nombre de clochettes. une forme ovale. En plus de requérir un geste du spectateur pour faire tourner la pièce, le scintillement osu les Lorsque complissement». Le reflet du spectateur résiste au mouvement rotatif etmagnéti rotatif sonores. et au mouvement visuels maintenant effets, «l’ac des de résiste dédoublement proche le moment spectateur par un position «harmonieux», sa du cercle dans piégé un reflet que, devenir à Le tend complissement». pièces des ovale me http://www.actuart.org/article-expo-sculpture-contemporaine-haegue-yang-ovals-and-circles-116332295.html Sonic Sonic Rotating Ovals oi Rttn Ovals Rotating Sonic (2013) sont des pièces murales rotatives composées de grappes de clochettes sur omnet tunyr ls lcets irn e l for la et vibrent clochettes les tournoyer, à commencent March 19,2013. Actu Art, - - - Galerie Chantal Crousel Eric Simon.“Expo Sculpture Contemporaine: Haegue Yang Haegue Contemporaine: EricSimon.“ExpoSculpture “Ovals andCircles””, Dans ainsi en tant que paroi perméable, de transparente, fragile forme frontière délimitant un espace réduit. le mur et l’espace, à intervalle de 10 cm, empêchant le spectateur d’avancer vers le mur. Les filsagissent surface et le volume de l’espace. Des lignes droites tirées à la craie ainsi que des fils de coton segmentent oaig oe – ipre Eioe I I, V IV, II, Episode Dispersed – Notes Rotating aer éie e ar tunr a ic. age ag nae lr l settu vr l no la vers soi. spectateur de l’expression le libérer mieux alors pour acquis savoir engage du Yang défaire se Haegue : pièce. “désapprentissage” La du la tion temporaire. tourner ci- faire arrangement de Les un décide Levi1.spec le tateurque dans Primo lors dès illisibles d’idées, ou totalement deviennent éléments des tableaux Sik association l’artis libre Kyung la de et de lecture Suh forme récentes auteurs sous recherches des apparaissent des autour tations épiques traces récits textes, certains de sur fragments te des aimantées sont quelles http://www.actuart.org/article-expo-sculpture-contemporaine-haegue-yang-ovals-and-circles-116332295.html Ovals and CirclesOvalsand , les installations 27,12 m2 et 56,27 m3 (2000 - 2013) renforcent et pénètrent la pénètrent et renforcent 2013) - (2000 m3 56,27 et m2 27,12 installations les , March 19,2013. 21) ot e pèe mrls oaie sr les sur rotatives murales pièces des sont (2013) Actu Art, - - - - Galerie Chantal Crousel Eric Simon.“Expo Sculpture Contemporaine: Haegue Yang Haegue Contemporaine: EricSimon.“ExpoSculpture “Ovals andCircles””, il fTeleportationField of Dans ce vortex mémoriel, les objets semblent flotter et dériver sans être affectés par une quelconquegravité. expositions, des oeuvres ainsi que des objets référentiels de son travail, soustraits de tout contexte d’origine. linois Manuel Raeder. Dans ce microcosme, à la fois surnaturel et taoïste, l’artiste a reproduit des vues de ses aiiaig PentagonFacilitating Seating centre un nid de bois flottés, dont la présence questionne la finitude et la fonctionnalité desobjets. etlafonctionnalité lafinitude questionne la présence dont flottés, bois de nid un au placé centre a l’artiste juxtaposition, En domestiques. objets simples de disposés sont lesquelles sur gone http://www.actuart.org/article-expo-sculpture-contemporaine-haegue-yang-ovals-and-circles-116332295.html (2011) est le premier papier peint conçu par l’artiste en collaboration avec le graphiste ber (2013) est composée de 9 tables basses modulables qui forment un penta- un forment qui modulables basses tables 9 de composée est (2013) March 19,2013. Actu Art, - Galerie Chantal Crousel Eric Simon.“Expo Sculpture Contemporaine: Haegue Yang Haegue Contemporaine: EricSimon.“ExpoSculpture “Ovals andCircles””, http://www.actuart.org/article-expo-sculpture-contemporaine-haegue-yang-ovals-and-circles-116332295.html Jours d’ouverture: ethoraires Dumardiausamedide11h00à13h0014h00à19h00. [email protected] 75003 Paris 10, rueCharlot Galerie ChantalCrousel March 19,2013. Actu Art, Daniel Birnbaum. “Documenta 13”, Artforum, October 2012, p.254-255 Galerie Chantal Crousel Daniel Birnbaum. “Documenta 13”, Artforum, October 2012, p.254-255 Galerie Chantal Crousel Galerie Chantal Crousel Heidi Zuckerman Jacobsen.“Domestification,” Flash Art n°282,January-February 2012, p.96-98. Galerie Chantal Crousel Heidi Zuckerman Jacobsen.“Domestification,” Flash Art n°282,January-February 2012, p.96-98. Galerie Chantal Crousel Heidi Zuckerman Jacobsen.“Domestification,” Flash Art n°282,January-February 2012, p.96-98. Galerie Chantal Crousel Heidi Zuckerman Jacobsen.“Domestification,” Flash Art n°282,January-February 2012, p.96-98. Galerie Chantal Crousel chwander’s enigmatic treatment of foundobjects.chwander’s enigmatic treatmentof artistic authorship: small seeminglystacks unrelated of second-hand German books which were bound together, in homage to Neuens- spaces.exhibition Yang’sthe in up set typewriter a symbolson punctuationnumbers and the Lütje’s and work similarly on reflected onlyexhibitions,TRUSTprevioususing worksWE her text JESUS whichto nal IN FUTURE?,byvisitors wereas andcreated such insects,welland as trees,cars such as ba- as images generic typewrittendrawings framed Neuenschwander’s of work of comprised is Beauty, (Engaged Schönheit2005). Engagierte withYang’sLütje,Peter juxtaposed artist was (2010) German withthe collaboration pavilion,the Neuenschwander’s slowlywork’s the Anonymous of blinkingDialogues space lights. centre coloured the In spectacle of scent A while bytechniquesstores used viewercalming department the the lulling tinsel. to into reference roommade the and nets of corner the machinein bracelets, charm beads, of assortment an and cords bulbs, light multi-coloured anthropomorphised: withindividually are dressed drip-stands intravenousseven (2007), Lights Basel Seven – VulnerableArrangements of Yang’sSeries In work couldcontinue. the of the performance cyclical so attendant gallery a by emptied be to had and upwater with filled floor the on buckets the hours, few resources.a natural After of sustainability the work’s this concerning enhanced issues – topical space exhibitionto the allusions windowsin the through visible – pavilion’sgardens the whilesurrounding Warhol’s(1966) Andy Clouds Silver of ambience poetic evoke the silver vessels suspended floor. The gallery the on buckets into water drip slowly ceiling the from heights various at ging han- bucketssilvergallery, Neuenschwander’s2001): the rains, viewers encountered Choveentering (Rainart-making. chuva Upon to approaches elementary Yangshared showcasedtheir Haegue and NeuenschwanderRivane artists by exhibition eponymous This Wes Hill.“Rivane Neuenschwander Yang,” &Haegue frieze-magazin.de, June, 2012. Galerie Chantal Crousel a stylistic harmony, theirostensibledifferences. transcending cultural meditations with Balancing formal theatricality,engagement. the exhibition evinced Neuenschwander’s and Yang’s for concern shared viewer’sthe of performativity potential the in interest an also but objects art of presence material the for fascination onlya not ding the unseen protagonist carrying the position egg.of The work neatly condenses the the underlyingexhibition by themes foregroun- of tentative the viewer in the rhythm placing an hypnotic space and with the filling sounds both – spoon metal the against tapping egg the of sound the withblends forest the slowlythroughmoving footsteps of sound The forest. out-of-focus an through carried being how simple art processesworks can yield sophisticated results.of Thiscomprised of looped 15-minute video depicts an in egg a spoon Dinge (The Way Things Go, 1987). In the the upper der pavilion,level Neuenschwander’s of TheLauf FallWeiss’sDavid Der (2009) offered a and Fischlicompelling video examplePeter paraphrase to go, things how to approachperformative their revealedshow this Building upon the dialogue that the two artists started at the exhibition Escaping Things and Words at the Kunstverein Lingen in 2011, Wes Hill.“Rivane Neuenschwander Yang,” &Haegue frieze-magazin.de, June, 2012. Galerie Chantal Crousel Bart Van meaning,” Kaleidoscope , spring2011,p. DerHeide. 114-119. “The Whiteness of Galerie Chantal Crousel Bart Van meaning,” Kaleidoscope , spring2011,p. DerHeide. 114-119. “The Whiteness of Galerie Chantal Crousel Bart Van meaning,” Kaleidoscope , spring2011,p. DerHeide. 114-119. “The Whiteness of Galerie Chantal Crousel Bart Van meaning,” Kaleidoscope , spring2011,p. DerHeide. 114-119. “The Whiteness of Galerie Chantal Crousel Bart Van meaning,” Kaleidoscope , spring2011,p. DerHeide. 114-119. “The Whiteness of Galerie Chantal Crousel Bart Van meaning,” Kaleidoscope , spring2011,p. DerHeide. 114-119. “The Whiteness of Galerie Chantal Crousel Kunitz, Yang”. Daniel.”Haegue Painters Modern . November 2011. Galerie Chantal Crousel Vishmidt Marina,“Immernoch schreibeich, umdasSchreibenzuverbergen”, Parkett n°89, 2011. Galerie Chantal Crousel Vishmidt Marina,“Immernoch schreibeich, umdasSchreibenzuverbergen”, Parkett n°89, 2011. Galerie Chantal Crousel Vishmidt Marina,“Immernoch schreibeich, umdasSchreibenzuverbergen”, Parkett n°89, 2011. Galerie Chantal Crousel Vishmidt Marina,“Immernoch schreibeich, umdasSchreibenzuverbergen”, Parkett n°89, 2011. Galerie Chantal Crousel Vishmidt Marina,“Immernoch schreibeich, umdasSchreibenzuverbergen”, Parkett n°89, 2011. Galerie Chantal Crousel Vishmidt Marina,“Immernoch schreibeich, umdasSchreibenzuverbergen”, Parkett n°89, 2011.