DOCSLIB.ORG

Over the Past Twenty Years, Korean-Born Haegue Yang Has

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Over the Past Twenty Years, Korean-Born Haegue Yang Has profile Haegue Yang: Coordinates of Speculative Solidarity Over the past twenty years, Korean-born Haegue Yang (details), 2019, site- specific wallpaper. has created a tremendously varied body of enigmatic work, both sculptural and graphic. A By Christopher Phillips Certain Uncertainty SWIRLING OCEAN WATERS, A TROPICAL STORM veering toward the Florida coast, a tempest’s cata- strophic impact. Halfway through “In the Cone of Uncertainty,” Haegue Yang’s current exhibition at the Bass Museum of Art in Miami Beach, visiors confront a large mural whose ominous imagery brings new mean- ing to Yang’s long-standi ng themes of precariousness and unpredictable change. Since 2011, the Korean-born, Berlin- and Seoul-based artist has utilized an unusual method of conceiving the compact survey exhibitions of her work that have appeared in museums and galleries around the world. Containing pieces from thoughout her twenty-five-year career, these exhibitions unfold within a conceptual wrapper furnished by wall-size graphic imagery that Yang creates, frequently (as at the Bass) in collaboration with Berlin designer Manuel Raeder. The murals are sometimes keyed to Yang’s own artworks and visual sources; in other cases, they reflect her research into the history and culture of the locale where the exhibi- tion will take place. The unifying power of these wall graphics permits Yang to juxtapose wildly heteroge- neous examples of her work from past and present. These can include her coolly conceptual text pieces; geometrically shaped collage Trustworthies; sculptures fashioned from modest domestic objects; monumental Constructivist-style arrangements of venetian blinds; the quasi-anthropomorphic Intermediates sculptures, created largely from woven artificial straw; and bell-covered, almost figurative sculptures that can be rolled around on casters. When it succeeds, as it does at the Bass, this approach supplies a visual context for her newest artworks and creates a fresh perspective on her older or lesser-known pieces.¹ Courtesy the Bass, Miami Beach/Photos Zachary Balber. 42 April 2020 43 profile In her early meetings with Bass director Silvia Bottom, view of Yang's ty in lower-income, higher-elevation districts. For her Karman Cubiñá and curator Leilani Lynch, Yang exhibition “In the part, Yang speculated that unanticipated new forms Cone of Uncertainty,” sought a theme for her commissioned wall graphic 2019–20, showing the of local community might arise from the shared that could speak to all of Miami’s inhabitants. She installation Boxing experience of climate disaster. Morales recounted the found herself wondering, in particular, how South Ballet, 2013–15. steady increase in the intensity of tropical storms in Florida’s residents have coped with the region’s Below, Can Cosies— the South Florida region, and urged everyone in the increasingly extreme weather conditions. She was Pomodori pelatti audience to be prepared for the inevitable. “There is struck by the phrase “cone of uncertainty,” a meteo- 400g (detail), 2010, no stopping the water,” he said. When he asked how rological term that has become part of the everyday five tomato cans and many in the audience had already stocked supplies of yarn, approx. 4 by 4 by vocabulary of the region, which refers to the pre- 3 inches each. canned food at home for weather emergencies, the dictably unpredictable path of a fast-moving tropical hands of about half of those present shot up. storm. The site-specific wall graphic that Yang and The mention of canned foods was probably not Raeder devised ingeniously mixes the visual idiom accidental. Only a few steps away, at the top of a wide of weather infographics—thermal mapping, orange staircase, alongside which runs Yang and Raeder’s wind-speed bars—with aerial views of Miami neigh- storm-themed wall graphic, is a gallery filled with borhoods seen through queasily rippling layers of examples of Yang’s “Can Cosies” (2010–) and “Roll atmospheric distortion. Cosies” (2011–). These long-running series consist of One day after the opening of the exhibition last commercial canned foods and paper rolls (in this case November, Yang took part in a lively and well-at- jumbo toilet tissue rolls) lovingly covered by the art- tended public conversation at the Bass with John ist’s hand-crocheted protective sleeves. Arranged in Morales, a low-key and extremely well-informed TV groups on minimalistic pedestals, the Cosies shared weatherman. With the serene chirps of recorded the gallery space with two other quirkily domestic birdsong—an element of Yang’s exhibition—audible works: low-hung, multipart wall sculptures made from a nearby gallery, Morales explained the new (to from rectangular segments of venetian blinds that me) practice of “climate gentrification.” This involves are backlit by light bulbs. Their modest dimensions the abandonment of once sought-after waterfront match those of heating units in two Berlin flats dwellings by the well-to-do, and their search for safe- where Yang has lived. Conjuring up associations with Left, Mountains of domestic comfort, these works contrast sharply with YANG IS AN ARTIST OF SEEMINGLY BOUNDLESS Encounter, 2008, menacing images in the wallpaper that covers the productivity—over 1,400 works are detailed in the aluminum venetian blinds, rope, spotlights, room’s largest wall: swirling abstractions suggesting catalogue of her 2018 exhibition “ETA” at Cologne’s floodlights, and cables, violent tropical storm activity and blurry photo- Museum Ludwig.² So it‘s surprising today to recall dimensions variable. graphic images showing deserted city streets how long it took her to define her trajectory as an art- Right, Towel Light slammed by raging winds and torrential rain. ist. Born in 1971 in Seoul, she is the daughter of com- Sculpture—Budget This gallery effectively sets the tone for “In the mitted activists in the political movement that sought Discipline Towards 900 Cone of Uncertainty,” which comprises around to end South Korea’s repressive military government. Euro, 2012, clothing twenty of Yang’s sculptural groups and installa- After attending the Seoul High School of Art, Music, rack, light bulbs, cable, zip ties, nylon cord, and tions made between 2008 and 2019. The exhibition and Dance, she studied sculpture at Seoul National mixed mediums, 755/8 by includes examples of some of the artist’s best-known University and in 1994 moved to Frankfurt, Germany, 345/8 by 331/2 inches. works—not only her remarkable venetian blind to enter the graduate program at the highly regarded Courtesy the Bass, Miami Beach/Photo Zachary Balber. ” installations, but also her eerily creaturelike light Städelschule art academy. In Frankfurt she began to pieces and woven-straw sculptures, as well as Boxing familiarize herself with Western art currents previ- Ballet (2013–15), a room installation of semi-figurative ously unknown to her, such as post-conceptualism, objects covered with bells and mounted on rollers or institutional critique, and context art. The works she suspended from cables. Less frequently seen works made during her student years and immediately after are also on view, such as Rotating Notes—Dispersed show her trying her hand at almost everything: Arte Episodes (2013), in which Yang’s notes on her readings Povera-esque plaster sculptures, enigmatic objects, of figures like Jean Genet, Edward Said, and Primo wall arrays of small ink drawings, color photographs Levi are attached to irregularly shaped, magne- of movie-theater curtains, groupings of found furni- tized canvases that viewers or attendants can set to ture parts, minimalist installations of stretched white spinning; and examples of the “Carsick Drawings” thread, collages made from imagery in hardware-store (2016) that she made on a bumpy road trip near the catalogues, and abstract lacquer paintings, along with China-Vietnam border. A recent work, A Chronology performances and occasional text pieces. I remember of Conflated Dispersion—Duras and Yun (2018), is pre- seeing her work for the first time at the Manifesta sented as an enormous text panel. In it Yang merges, biennial in Frankfurt in 2002 and having no idea what to surprisingly evocative effect, the biographical to make of it: a group of unassuming fluorescent timelines of two twentieth-century figures whose tubes illuminating a woefully neglected corner in one creative lives played out against a backdrop of war of the exhibition’s peripheral spaces. Only much later : Courtesy Modern Art Oxford/Photo Stuart Whipps. “In the Cone of Uncertainty: and political upheaval: French writer and filmmaker did it become possible to see Yang’s early efforts as Marguerite Duras and Korean modernist composer quietly preparing a distinctive artistic ground that she Can Cosies Left: Courtesy Museum Ludwig, Cologne/Photo Šaša Fuis. Right: Goetz Collection, Munich. Left: Isang Yun. would cultivate. 44 April 2020 45 profile Yang moved to Berlin in 2005, after meeting the View of the installation gallerist and art-book dealer Barbara Wien and exhib- Sadong 30, 2006, light bulbs, strobe lights, iting at her Berlin gallery. Yang’s Storage Piece brought mirror, wood piles, her serious critical attention that year. Created for IV stand, and mixed Lawrence O’Hana Gallery in London, the installation mediums. featured a large grouping of the still-wrapped early works that she could no longer afford to keep in a storage facility. Storage Piece brought into public view a seldom-seen part of the art-world’s infrastructure at the same time that it highlighted the kind of finan- cial obstacle regularly encountered by many artists. A year later, in 2006, Yang’s work began to attain a distinctive and increasingly challenging character. She began what became an extended series of sometimes humorous, sometimes unsettling light sculptures whose diverse components were mounted on medical IV stands. For an exhibition at the Dutch art center BAK in Utrecht, she created the installation Series of Storage Piece, 2004, wrapped artworks, palettes, audio player, Vulnerable Arrangements—Version Utrecht (2006).
Load more

Recommended publications
  • At Haegue Yang's Exhibition at the Leeum
    Haegue Yang, Courtesy the artist. At Haegue Yang's exhibition at the Leeum, Samsung Museum of Art in Seoul, "Shooting the Elephant 象 Thinking the Elephant," the visitor will encounter installations and sculptures composed of bright brass bells, electric fans, light bulbs, and Venetian blinds, all involved in a dance of movement, light, texture, and sound. At the start of the exhibition, visitors are invited to don garlands of bells, wearable sculptures the artist calls Sonicwears (2013/2015). In one installation, different scents are emitted periodically into the air. Based on these works alone, one could be forgiven for thinking that Yang's work is primarily concerned with the senses: sight, sound, smell, and touch. But this is just one layer of Yang's work, a surface reading, and while no less true, of course, and no less satisfying, a deeper plunge into the work and its references and dialogues reveals a vast ocean of meaning underneath. Haegue Yang, Shooting the Elephant 象 Thinking the Elephant, installation view. Courtesy Leeum, Samsung Museum of Art. "Shooting the Elephant 象 Thinking the Elephant," on view until May 10, is Haegue Yang's first solo exhibition in her native country of South Korea in five years. Based in Berlin, Yang is perhaps best known for her installations comprised of arrangements of Venetian blinds--a sculptural motif she introduced in a work entitled Series of Vulnerable Arrangements - Blind Room at the São Paulo Bienal in 2006, and continued to use in installations at the Venice Biennale (where she represented South Korea in 2009), dOCUMENTA (13), and numerous other commissions for major art institutions like Haus der Kunst and the Walker Art Center.
    [Show full text]
  • Press Release Haegue Yang: Tracing Movement 8
    PRESS RELEASE HAEGUE YANG: TRACING MOVEMENT 8 MAR – 26 MAY, MAIN GALLERY A new solo exhibition Tracing Movement combines new and recent works born of acclaimed South Korean artist Haegue Yang’s ongoing exploration into ideas around identity politics and migration, alienation and difference. Her choice of materials is similarly wide-ranging, often integrating industrially manufactured with crafted items, revealing otherwise overlooked juxtapositions and co-existences through her own, very particular sensibility. Acts of tracing, from perceiving the physical terrain of spaces to revisiting obscured voices in history, provide the defining thread between the works in this sensorially charged show, some of which add to series developed over many years, while others are site-specific pieces. Inspired by the potential of the South London Gallery’s elegant Victorian exhibition space to be a ballroom, two works from the Dress Vehicle series (2011–), Sonic Dress Vehicle – Hulky Head and Sonic Dress Vehicle – Bulky Birdy (both 2018), take centre stage. These wheeled, angular sculptures occupy an indeterminate territory between abstraction and figuration, motion and stillness. Their powder- coated aluminium frames are dressed with venetian blinds and brass- and nickel-plated bells that create a subtle yet distinctive rattle when periodically activated by performers. The unevenness of the floor is traced by this rattling, which intermingles with the sounds of birdsong emanating from clusters of speakers positioned in diagonally opposite corners of the space. Poignantly, this birdsong was recorded in April 2018 when thousands of journalists were gathered to report on the historic inter-Korean summit in the DMZ (demilitarised zone), an event watched by millions of viewers worldwide.
    [Show full text]
  • From the Elegantly Austere to the Joyfully Overstuffed, Spaces That Play with Volume
    Design March 22, 2020 THE NEW YORK TIMES STYLE MAGAZINE From the elegantly austere to the joyfully overstufed, spaces that play with volume SPACE, FORM, LINE Haegue Yang, photographed in Miami on Dec. 4, 2019. The artist’s work looks at themes including memory, loss and cultural identity. ARTS AND LETTERS Haegue Yang’s complex reflections on modern loneliness have done nothing less than create a new mold: the truly global artist who gains her sense of self from being permanently out of place. By Zoë Lescaze Portrait by Shane Lavalette The Artist of Nowhere WHEN THE ARTIST Haegue Yang shows old artworks Yang has managed to escape the conspicuous identity something to condemn?” She is always in new places, she likes to create a fresh piece that politics that define much of the contemporary art working, and has spent her career delib- links the exhibition to the local context. For her cur- world. “Every institution now wants to be global and to erately isolating herself from friends and rent presentation at the Bass, a museum in Miami have a more international and cosmopolitan point of family as a kind of artistic method. The Beach, Yang asked the curators what the region’s view, but what does that really mean?” asked Stuart only downside is existential: “What comes famously multicultural residents have in common. A Comer, MoMA’s chief curator of media and perfor- along with the intensity of the work is you particular holiday? A certain food? Not really, they mance, who organized Yang’s exhibition. At its worst, it almost lose yourself,” she said, although told her.
    [Show full text]
  • Haegue Yang: Triple Vita Nestings
    Haegue Yang: Triple Vita Nestings govettbrewster.com Triple Vita Nestings is a touring exhibition organised by the Institute of Modern Art (IMA), co-curated by Aileen Burns and Johan Lundh with Sarah Wall at the Govett-Brewster Art Gallery. Umbra Creatures by Rockhole (2017–2018), as well as the reconstruction of Lethal Love (2008/2018) were made possible through partnership with 21st Biennale of Sydney, Australia Council for the Arts, Korea Foundation and with assistance from Institut für Auslandsbeziehungen. Contents Introduction 3 Haegue Yang: Triple Vita Nestings VIP's Union 4 56.6m2 Doubled in Reverse 5 Doubles and Halves – Events with Nameless Neighbors 6 Drunken Speech 6 The Story of a Bear-Lady in a Sand Cave 7 Lethal Love 8 Umbra Creatures by Rockhole 10 Public Programme | Film Programme 12 Floor plan 14 Biography 16 Cover: Installation view Heague Yang:Triple Vita Nestings, Institute of Modern Art, Brisbane. In view (l-r): Lethal Love, 2008/2018, aluminium venetian blinds, powder-coated aluminium hanging structure, steel wire rope, self-adhesive mirror vinyl film, moving spotlights, scent emitters (Wildflower, Gunpowder), dimensions variable; The Intermediate – Tinted UHHHHH Creature Inverted V, 2017, powder-coated stainless steel frame, steel wire rope, plastic twine, 360 x 400 x 180 cm, courtesy of the artist and kurimanzutto, Mexico City. Photo Carl Warner 2 Haegue Yang: Triple Vita Nestings brings together selected works from more than a decade of Yang’s practice. These pieces straddle seemingly opposing artistic legacies and aesthetics; between conceptual art strategies and materially-driven craft techniques, industrial production and the handmade; and between figuration and abstraction.
    [Show full text]
  • The 21 Biennale of Sydney (2018) Announces First 21 Artists for Its 45
    MEDIA RELEASE Embargoed until 5pm Thursday, 6 April 2017 The 21st Biennale of Sydney (2018) announces first 21 artists for its 45th anniversary exhibition Mit Jai Inn, Junta Monochrome #1, 2016, oil on canvas. 800 x 800 x 50 cm. Courtesy the artist; Gallery Ver, Bangkok; and Cartel Artspace, Bangkok Photograph: Jirat Ratthawongjirakul Sydney, Australia: Mami Kataoka, Artistic Director of the 21st Biennale of Sydney, today revealed the first group of 21 artists selected for the 21st edition of the Asia Pacific’s leading contemporary art event. With around 70 artists expected to be included in the 21st Biennale, this initial selection includes internationally renowned artists Ai Weiwei, Laurent Grasso, Haegue Yang and Eija-Liisa Ahtila, and provides insight into the themes of the 2018 edition. Celebrating its 45th anniversary next year, the Biennale of Sydney will be presented over twelve weeks from Friday, 16 March until Monday, 11 June 2018 (Preview 13-15 March), at multiple locations throughout Sydney. It will feature major new commissions and recent work by contemporary artists from Australia and around the world. The 21 artists announced today as part of the first reveal include one artist duo, ten artists from throughout Asia, five European artists, four Australian artists and one artist from North America. The initial list of artists is as follows: • Eija-Liisa Ahtila (Born 1959 in Finland, lives and works in Helsinki) • Ai Weiwei (Born 1957 in China, lives and works in Beijing) • Brook Andrew (Born 1970 in Australia, lives and works in Melbourne) • Oliver Beer (Born 1985 in England, lives and works in Paris and London) • Anya Gallaccio (Born 1963 in Scotland, lives and works in San Diego) • Laurent Grasso (Born 1972 in France, lives and works in Paris and New York) • N.S.
    [Show full text]
  • STPI Gallery at the Second Edition of Art Basel Online Viewing Rooms
    Press Release STPI Gallery at the second edition of Art Basel Online Viewing Rooms VIP Preview 17 June, 1pm CET – 17 June 1PM CET Public Preview 19 June, 1pm CET – 26 June 1PM CET Genevieve Chua, Edge Control #30, Kiss (Unplanned), 2020, Acrylic on linen, 60 x 42 x 4.5 cm For the 2020 second edition of the Art Basel Online Viewing Rooms, STPI is proud to showcase key works by Jason Martin (UK), Anri Sala (France/Germany), Do Ho Suh (South Korea/ USA/UK), and Haegue Yang (South Korea/Germany) as well as new works by Genevieve Chua (Singapore). British artist Jason Martin effects oscillations between sculpture and painting, with the vigour of action painting but a controlled hand. Martin redirected his enduring spirit of experimentation to the medium of pulp and paper. His pulp paintings, such as Dogstar and Running for the Hills, offer the textural complexities afforded by the curious, ephemeral properties of pulp, on which forces of action and time drastically transform the appearance of each pictorial terrain. Anri Sala’s Lines on Black series applies the directness of line drawing to initiate collaboration on an anatomical scale. Palm lines of three different individuals and their contemporaries are intricately merged by the artist, such as those of leading Pop Art figures Marisol Escobar, Andy Warhol and Roy Lichtenstein. Do Ho Suh’s enduring experimentations on paper with his delicate Gelatine Drawings take on compositions in varied complexity and meaning. Personal specimens of memory and site brings the viewer’s eye through an exhilarating journey as it traces each moment of impression, compression and touch.
    [Show full text]
  • Haegue Yang Solo Exhibition When the Year 2000 Comes
    Haegue Yang Solo Exhibition When The Year 2000 Comes Press Conference: September 2 (Mon.), 2019, 11AM at Kukje Gallery K3 Exhibition Dates: September 3 – November 17, 2019 Venue: Kukje Gallery K3 space Kukje Gallery is pleased to present When The Year 2000 Comes, a solo exhibition by Haegue Yang, an internationally recognized artist based in Seoul and Berlin. This is the artist’s first exhibition at Kukje and fourth solo exhibition in Korea since her last presentation at Leeum, Samsung Museum of Art in 2015. Yang is known for her experimental interpretation of tracing the paths of seemingly unrelated historical figures and events. In this ongoing investigation, the artist develops a pluralistic and personal approach to the concepts of subjectivity, culture, and time. This exhibition transforms the gallery space into a field of imagination and solidarity in which multisensory elements evoked by a series of sonic and mobile sculptures generate an engaging platform for the audience. The exhibition’s title, When The Year 2000 Comes, derives from Korean singer Hae-kyung Min’s “AD 2000,” a song released back in 1982. The song, which wistfully dreams of the future, welcomes visitors on the way to the exhibition. Situated in a future far beyond the one described in the lyrics, the audience is reminded of the bygone hopes of the distant past. In other words, the temporality of the year 2000 embodies both the past and future; we are able to traverse the sentiments of time frozen in the song and perceive its complexities. Treasure Ship (c. 1977), first revealed and circulated as a promotional image for this exhibition, was painted by Yang and her two brothers when they were children.
    [Show full text]
  • OCMA Announces the 2017 California-Pacific Triennial Artists
    FOR IMMEDIATE RELEASE: November 28, 2016 Media Contact: Kirsten Schmidt [email protected] | 949.759.1122 ext 207 OCMA Announces the 2017 California-Pacific Triennial Artists With a focus on the Built Environment, 25 artists and artists’ collectives from 12 countries around the Pacific Rim have been selected to participate in the exhibition On view May 6 through September 3, 2017 NEWPORT BEACH, CA—The Orange County Museum of Art (OCMA) today announced the names of 25 artists and artists’ collectives whose work will appear in the 2017 California-Pacific Triennial: Building As Ever. This is the second iteration of the program that places important California art practices within those from countries surrounding the Pacific Ocean. California’s geographical position on the Pacific Ocean has long enriched its cultural prominence, and the demographics of the state are strongly linked to the diverse countries along the Pacific Rim. With a focus on the topic of architecture and the temporal precariousness of the built environment, OCMA Senior Curator Cassandra Coblentz selected the final artists from the US and 11 other countries around the Pacific Ocean. The 2017 California-Pacific Triennial will be accompanied by a full-color catalogue and the exhibition is on view May 6 through September 3, 2017. 2017 California-Pacific Triennial: Building As Ever Participating Artists (Full list of bios at end) anothermountainman (Stanley Wong) Renée Lotenero | Los Angeles, USA Hong Kong, China Cybele Lyle | Oakland, USA Carmen Argote | Los Angeles, USA Ronald
    [Show full text]
  • Walker Art Center Exhibition Chronology Living Minnesota
    Walker Art Center Exhibition Chronology Title Opening date Closing date Living Minnesota Artists 7/15/1938 8/31/1938 Stanford Fenelle 1/1/1940 ?/?/1940 Grandma’s Dolls 1/1/1940 ?/?/1940 Parallels in Art 1/4/1940 ?/?/1940 Trends in Contemporary Painting 1/4/1940 ?/?/1940 Time-Off 1/4/1940 1/1/1940 Ways to Art: toward an intelligent understanding 1/4/1940 ?/?/1940 Letters, Words and Books 2/28/1940 4/25/1940 Elof Wedin 3/1/1940 ?/?/1940 Frontiers of American Art 3/16/1940 4/16/1940 Artistry in Glass from Dynastic Egypt to the Twentieth Century 3/27/1940 6/2/1940 Syd Fossum 4/9/1940 5/12/1940 Answers to Questions 5/8/1940 7/1/1940 Edwin Holm 5/14/1940 6/18/1940 Josephine Lutz 6/1/1940 ?/?/1940 Exhibition of Student Work 6/1/1940 ?/?/1940 Käthe Kollwitz 6/1/1940 ?/?/1940 Walker Art Center Exhibition Chronology Title Opening date Closing date Paintings by Greek Children 6/1/1940 ?/?/1940 Jewelry from 1940 B.C. to 1940 A.D. 6/27/1940 7/15/1940 Cameron Booth 7/1/1940 ?/?/1940 George Constant 7/1/1940 7/30/1940 Robert Brown 7/1/1940 ?/?/1940 Portraits of Indians and their Arts 7/15/1940 8/15/1940 Mac Le Sueur 9/1/1940 ?/?/1940 Paintings and their X-Rays 9/1/1940 10/15/1940 Paintings by Vincent Van Gogh 9/24/1940 10/14/1940 Walter Kuhlman 10/1/1940 ?/?/1940 Marsden Hartley 11/1/1940 11/30/1940 Clara Mairs 11/1/1940 ?/?/1940 Meet the Artist 11/1/1940 ?/?/1940 Unpopular Art 11/7/1940 12/29/1940 National Art Week 11/25/1940 12/5/1940 Art of the Nation 12/1/1940 12/31/1940 Anne Wright 1/1/1941 ?/?/1941 Walker Art Center Exhibition Chronology Title
    [Show full text]
  • New Museum Presents Haegue Yang's First Solo Exhibition in New
    FOR IMMEDIATE RELEASE AUGUST 18, 2010 MEDIA CONTACTS: Gabriel Einsohn, Communications Director Andrea Schwan, Andrea Schwan Inc. [email protected] [email protected] New Museum Presents Haegue Yang’s First Solo Exhibition in New York New York, NY…The New Museum will present the first New York solo exhibition by Haegue Yang (b. Seoul, 1971). One of the leading artists of her generation, Yang has participated in numerous exhibitions internationally, and represented South Korea at the 53rd Venice Biennial in 2009, but she has yet to exhibit in a New York museum. “Voice and Wind: Haegue Yang,” at the New Museum will feature the artist’s installation Series of Vulnerable Arrangements—Voice and Wind (2009)—a labyrinthine system of stacked venetian blinds, industrial fans, and scent atomizers that will transform the New Museum’s lobby gallery into an immersive experience. The exhibition will be on view from October 20, 2010 through January 23, 2011. Yang’s work is marked by a particular preoccupation with the coexistence of formalism and emotion, determination and meandering. She has created meditative, striking installations at the 2006 São Paulo Biennial, sala rekalde in Bilbao, and REDCAT in Los Angeles, in which man-made sensorial stimuli enhance an experience of space and time. For Yang’s installation at the New Museum, industrial fans placed within the gallery will generate wind at various intervals, altering both the stability of the blinds as suspended barriers and the movement of visitors through the space. Scent atomizers integrated in and around the system of blinds will infuse the installation with a Haegue Yang, Series of Vulnerable Arrangements—Voice and Wind, 2009.
    [Show full text]
  • At the 53Rd Venice Biennale in 2009, Haegue Yang (Born in Seoul in 1971) Caused Quite a Stir with Two Simultaneous, Yet Separate Presentations
    HAEGUE Yang — ROLL COSIES September 15 to October 27, 2012 | Monday to Sunday round the clock KMD — KUNSTHALLE MArcEL DUCHAMP Place d’Armes | Quai de l’Indépendance, Cully, Switzerland | www.akmd.ch – [email protected] At the 53rd Venice Biennale in 2009, Haegue Yang (born in Seoul in 1971) caused quite a stir with two simultaneous, yet separate presentations. As part of the international exhibition, “Fare Mondi” by Daniel Birnbaum, in the Arsenale, Yang showed seven sculptures constituting Series of Vulnerable Arrangements – Domestics of Community – an installation comprising clothing and shoe racks draped with opulent cascades of electric cables combined with various objects and light bulbs. Presented at the same time, in the Korean Pavilion in the Giardini, were three new installations under the exhibition title Condensation, including Voice and Wind, a large-scale installation consisting of Venetian blinds surrounded by eight scent emitters and six fans, which subtly set the slats of the blinds in motion at different intervals, lending the interior of the pavilion an atmosphere of sensorial abstraction. Under the title of Roll Cosies at the Kunsthalle Marcel Duchamp, Yang now presents five cash register rolls, covered with neatly crocheted cosies. Everyday objects, mostly industrially fabricated items, often become a starting point for Yang to contemplate our immediate environment. However, the viewer’s subjective perception of it in a specific space plays an equally important role. Making a handmade cosy for such an ordinary consumer item is an unexpectedly affectionate gesture, like the tea cosies that grandmother used to make. At the same time, it is an obscure gesture: Are the Roll Cosies supposed to keep the figures warm that are yet to be burned on thermal paper? Would such figures refer simply to food supplies, or would they reflect her own artistic success? But the warmly clad rolls of paper are still unused, entirely virginal, in fact.
    [Show full text]
  • Haegue Yang Exhibition Guide
    MAPS INTRODUCTION SELECTED SCULPTURES 2011–2020 CABINET OF FORMATIVE WORKS ECLECTIC AFFILIATIONS AND PERMUTATIONS VIDEO WORKS SALLIM ECLECTIC SERIAL AND COSIES SADONG 30 DOUBLES & COUPLES LACQUER PAINTINGS BOXING BALLET WOVEN CURRENTS – CONFLUENCE OF PARALLELS PROGRAMS BIOGRAPHY PHOTO CREDITS 3 LEVEL FIVE JOEY AND TOBY TANENBAUM SCULPTURE ATRIUM S E W N Walker Court 4 5 INTRODUCTION Haegue Yang (b. 1971, Seoul, South Korea) is a leading artist of her generation, and this survey exhibition brings together her most provocative and inspiring works from the last 25 years. The exhibition title, Emergence, refers to a natural, social, and economic phenomenon in which a whole entity exhibits qualities and behaviours that its individual parts do not have on their own. Here, the concept of “emergence” suggests that particular works remain loyal to their own time of creation even as they are perceived differently in the condensed history of a survey show. Yang uses materials with domestic associations to create sculptures and installations that address historical and contemporary narratives of migration, displacement, and belonging. By incorporating sound, light, air, smell, and movement into her works, she transforms our understanding of the materiality and historical meanings of everyday objects. 7 1 This selection of sculptures made over the past 10 years shows just some of the diverse materials and techniques that Yang uses in her artistic practice. Here, her visual language transforms readymades, or commercially available objects, into sculptural compositions. Although each of these hybrid abstract forms is unique, the sculptures take on new meaning when experienced as part of a group: this is the concept of “emergence” at play.
    [Show full text]