Audio of chirping birds played through speakers overhead. Marc and Annette Kemmler Collection. by Yilmaz Dziewior, Cologne 2018. Ashley Dawson, “Moving Images: An Interview with TJ Demos,” Social Text Online (June 3, 2013). It was a ruin, with missing windows, peeling wallpaper and holes in the ceiling. The experience was harrowing but deeply formative: the genesis of her identity as an outsider. In a way, Yang is also a kind of translator — her works contain unlikely conversations, between craft, technology, abstraction and narrative, in which one can hear echoes of the past and whispers of the cataclysmic present. That same year, at the São Paulo Biennial, Yang considered her perpetual displacement in “Series of Vulnerable Arrangements — Blind Room.” Black venetian blinds hung from the ceiling surrounding a video trilogy in which Yang muses on being both geographically and existentially lost. What does the title ‘Strange Attractors’ refer to? Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. As uncomfortable as this period was, it arguably forms the core of her practice. The South Korean artist on weaving an alternative universe. Later works diverted from this imitation of the ‘real’ material, to incorporate synthetic, cheap and industrial materials such as shiny black and white plastic cords. After the meal, he asked her why she did it. In her work, they are metaphors for obscurity and exposure, symbols of contact between people and of willful isolation. Gurdjieff, the exiled Korean composer Isang Yun — and to political events. A certain food? Are there specific crafts that inspire and influence you? I visited a fantastic rattan workshop in Manila owned by a family who are genuinely invested in art and craftsmanship. You need to type at least 2 charecters to seach. Haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed. Recently, for the first time, I produced a work without first learning the technique on my own. “It’s a tough job to be my friend.” Ortega emphatically agreed. “I used to endure those things even if I couldn’t enjoy them,” she said. Fliers atop the table offered musings about our capacity to overlook banal elements of our surroundings, about belongings as expressions of their owners, approaches to furnishing institutional spaces and ambient compositions by Erik Satie. In November, she made a brief appearance in Graz, Austria, to install work in a group show at the city’s contemporary art museum, Kunsthaus Graz. Haegue Yang: ETA 1994-2018, ed. cat. Yang, who often communicates in diagrams, reached for a pen and drew two circles on a page. from Seoul National University. “I don’t know if I can continue doing only this. “Here is loneliness,” she said, pointing to one of them, “and here is humbleness. Yang is the first to admit she can be manic and “inhumane” when she is planning exhibitions. The Mexican artist Damián Ortega, who met Yang at the São Paulo Biennial and became one of her few confidants, recalls going to dinner with Yang and his dealers, the owners of Kurimanzutto gallery, in Mexico City. Often these themes manifested in an affection for objects that have lost their usefulness but linger on, out of step with their surroundings. ON A RECENT afternoon at MoMA, more than 100 people were looking at Yang’s installation in the atrium: a menagerie of large abstract sculptures covered in thousands of gleaming, spherical bells. Yang is usually moving too fast to think about slowing down. Ms Bo Young Song, Managing Director of Kukje Gallery (Photography by Keith Park and Image courtesy of Kukje Gallery) ... such as Haegue Yang and Kimsooja. Haegue Yang: In The Cone of Uncertainty At The BASS Museum. The show is called “In the Cone of Uncertainty,” which in forecasting terms refers to hurricane projection but might as well be a description of Yang’s overall philosophy. The piece, “Anthology of Haegue Archives,” might be read as ironic: a humorously self-important gesture from an obscure young artist whose career was a long way off from institutional support. She is represented by galleries on three continents and her works are a ubiquitous presence at art fairs, where her larger pieces sell for six figures. [Herald Interview] Yang Hae-gue’s art cuts through regions, generations, times ... Haegue Yang - O2 & H2O,” showcases the artist’s 40 works, including works created for the show. By 2004, neither Yang nor the gallery could afford to store her previous work or fund the production of new pieces — a dilemma that inadvertently gave rise to her first major installation: “Storage Piece,” a pile of crates full of her work, stacked atop shipping pallets. She arrived barely able to speak German, and even the simplest interactions would expose how little she knew about European languages, customs and institutions. Trails of black and iridescent vinyl polygons fanned across the floor and up the walls, as though an elaborate origami creature was in the process of unfolding itself. She benefited from the post-Cold War moment itself, which was increasingly interconnected. Visitors could unlock the house with a code and stay there alone for as long as they wanted. Labour is often associated with hard physical work, while the idea of ‘digital’ sounds as if it requires less work, which is often untrue. by Sinéad McCarthy, exh. Haegue Yang, The Intermediate ... As Yang said in a 2014 interview in Ocula, “My driving interests and motivations are often concrete, but my artistic language is one of abstraction. For her current presentation at the Bass, a museum in Miami Beach, Yang asked the curators what the region’s famously multicultural residents have in common. Canadian West Coast Contemporary artist, Angeline (Geline) Payne has taken her art academics through the realms of multi-media, abstract, cubism and beautiful representation still life, landscapes and seascapes. by Carla Cugini, Cologne 2018. Images courtesy of the BASS Museum and the artist. Meanwhile, along with the opening of the MMCA show, the first anthology on Yang in Korean language, "Air and Water: Writings on Haegue Yang 2001-2020," was co-published by the museum and Hyunsil Publishing. After I finally learnt it during my residency in Glasgow, I went on to teach it to several people at my Seoul and Berlin studios. “Europe became a very different society.” Still, Yang remained ambivalent about its effects on a personal level, and her art became a running commentary on her perpetual feelings of displacement. Haegue Yang interviewed by Kyla McDonald and Steinar Sekkingstad. “The Cone of Concern,” the title of Haegue Yang’s recent exhibition, refers to the path a storm might take as it gathers moisture and wind speed. Mundus Cushion –Yielding X (2020) is a furniture sculpture inspired by St Senara’s Church in nearby Zennor and draws on the community’s craft skills evident in its church pews and kneeler cushions. Later, we developed our own way of using the traditional straw weaving techniques by combining non-traditional methods to create larger free-standing sculptures using fake straw. Every year is a busy one in the Banksy-verse, but in 2020, the agit-prop prankster made his influence felt far and wide. Demoralised and in debt, Yang decided that she had “struggled enough.” She scaled back her practice and got a full-time job organising talks for the Frankfurt Book Fair. The chirps were inadvertently captured by reporters while attempting to record a recent private conversation between the leaders of North and South Korea. She continues to include Wien, an early champion of her work, in the acknowledgements for projects the dealer did not directly fund, such as one of her presentations at the Venice Biennale. April 28, 2017 by Yunyi Lau. From Storage to Gallery: Florine Stettheimer’s Four Panel Screen. The difficulties she experienced, not just linguistically but as an Asian woman in a homogeneous white milieu, made Yang realise that selves are fragile things — they can break in transit. By the time Yang graduated from the Städelschule in 1999, however, the art world’s borders and barricades were becoming more porous, and she began to make a modest name for herself. Crouched there, as far away as possible from the throng around the bar, she told me that she has always felt irrelevant at openings, ever since her first show: “like my job is done and I should disappear.” She gestured at the crowd of people sipping glasses of Gelber Muskateller. These days my role as the artist in the studio is to determine the steps we need to develop skills. Shamans in training will go door to door begging for unwanted metal — old spoons and other jetsam — which they melt and recast into rattles. AT THE SAME time her stature was rising, Yang was becoming suspicious of the commercial art world and questioning whether participating in it might blunt her intellectual edge. What is the significance of craft and skilled hand-making to you? Charmaine Branch, Jenny Harris, Anny Aviram, Anne Umland, Isabel Custodio. “It just didn’t exist,” she said. I felt so exposed to nature and the local cultural and sacred landscapes. Remarks on how busy she must be tend to be greeted with the sort of wary skepticism with which one might regard a doctor’s suggestion to lay off the exercise and have a cigarette. This piece, comprising eight cushions on a wooden modular stand, borrows some of the motifs, techniques and shapes from St Senara’s, such as the labour-intensive cross stitching technique used on the pew cushions and the design of a sitting and kneeling bench. The views and opinions expressed within T: The New York Times Style Magazine Singapore are not necessarily those of The New York Times Company or those of its contributors.". Interview Abraham Cruzvillegas by Haegue Yang Before I met Abraham Cruzvillegas, more than once I’d heard curator Clara Kim mention in passing that he was a special person. The embarrassments of not being able to communicate effectively or to pass as a local remain creatively beneficial for Yang: “I believe that out of the alienation one can mobilise the unusual strength to sympathise with the others,” she once said. Sentimental, melancholic, even romantic feelings overwhelmed me – tough and rough, sometimes dangerous, as well as mystical. The dealer Barbara Wien gave Yang her first solo show in Berlin in 2000 and began taking her work to fairs, but the pieces often failed to sell. Your subscription has been confirmed. Yang, now working in Berlin, was born in Seoul in 1971. Five performers danced the wheeled pieces around the space in lilting arcs. Being slow could be a form of resistance against the idea of efficiency in a neoliberal society. See more ideas about yang, installation art, sculpture installation. “She’s very demanding and not everyone can stand it,” said Barbara Steiner, the director of Kunsthaus Graz, who curated Yang’s solo exhibition there. Haegue Yang (b.1971) is a South Korean artist, who lives and works in Berlin and Seoul. Some of my studio staff are better than me at many of the techniques I use in my work. The artist Haegue Yang, creator of genre-defying multimedia installations, was commissioned to create a work for MoMA’s Marron Atrium.The result, Handles, features six sculptures that are activated daily, dazzling geometries, and the play of light and sound—all creating an environment with both personal and political resonance. It was a work so personal that being there might have felt like an intrusion, but Yang’s subtle gestures tapped a universal pain — of loss, of change, of our shared inability to keep things from ending. The currents of personal doubt and instability that give her art its enigmatic allure stem from this nomadic condition: “Loneliness,” she said, “is the price I pay.” To continue producing meditations on belonging, Yang cannot afford to feel at home. The hypnotic spectacle was enough to stop tourists, and even regulars (“This is the strangest thing I’ve ever seen at MoMA,” one man said to his companion as the sculptures jingled by). “I’m not so good at celebrating,” she said. I felt so exposed to nature and the local cultural and sacred landscapes. Photo: Studio Haegue Yang. Liverpool Biennial, Liverpool 2018. Interview. It explores the concept of chaos in the natural world, how it resists human prediction and classification, and humankind’s universal venture to live within chaos and unpredictability. HAEGUE YANG: That installation was a mute sensorial field, composed of devices such as lights and scent emitters that were juxtaposed with a ‘voice’ from video essays in the same space, which was demarcated by Venetian blinds. Weaving is similar to origami – by simply folding a sheet of paper, one can create a three dimensional space. Haegue Yang Selected Bibliography . A writer whose work resonates with Yang, the French novelist Marguerite Duras, once said, “One does not find solitude, one creates it.” In fact, now that she’s found success, her biggest struggle is maintaining a sense of alienation akin to what she experienced during her student years in Germany. Yang acknowledges that she might be “doing a lot,” but on the other hand, she suggests, notions of “rest” and “free time” are “sometimes too neoliberal to protect blindly. Ideas of water recur throughout the exhibition, strongly inspired by the landscape, mood, traditions, community and livelihoods of St Ives, but also a reminder of coastal communities and coastlines, elsewhere. Role models were scarce. Haegue Yang: The exhibition at Tate St Ives [set to reopen after the national COVID-19 lockdown] brings together existing works with new pieces inspired by my visits to Cornwall in 2018-19. Object of Desire, Art & Design A Futurist-Inspired Screen for the Home, Art & Design The Munich Atelier Where Stained Glass Comes to Life, Jewellery, Art & Design An Iconic Jewelled Cuff Bracelet Inspired by The Macabre, Beauty Floral Scents To Welcome The New Year, T | On Set, Beauty On Set | Liu Shishi on Beauty Secrets and Fragrance Memories. Filed to A talk with Haegue Yang about her first Italian solo show “Tightrope Walking and Its Wordless Shadow” curated by Bruna Roccasalva on view at La Triennale di Milano. What dictates your choice of materials? Courtesy: Gesellschaft für Moderne Kunst and the artist. Monographs, Artists’ Books and Exhibition Catalogs (chronological-alphabetical) 2018 Beautiful World, Where Are You?, ed. “But isn’t there any commonality you can think of?” she asked. Inside was a selection of her work to date, including a plaster cast of her hand and an Ikea mug with her name written on it. Until a year and a half ago, when she finally moved, her Berlin apartment had nothing in it except a futon on the floor and a lighting system she rigged to switch on and off while she was away. “I have colleagues who told me they will never, ever work with Haegue again.” Steiner, who invited Yang to come back and participate in the group show, dismissed these complaints. A talk with Haegue Yang. Even so, Yang remains a grudging, and sometimes awkward, participant in art world rituals. You are known for bringing together a diverse range of materials to create immersive environments and artworks. Yang placed broken and intact mirrors, a folding laundry rack, lights, an oscillating fan and clusters of delicate origami stars within the derelict rooms. Oct 25, 2019 Interview. I had plans to return to Manila to learn more, but due to the pandemic, the trip was cancelled. Brave New Worlds: Doryun Chong interviews Haegue Yang. Her mother, a teacher who became an author and then an activist, raised Yang and her twin brothers alone. The Mystic Landscapes of Haegue Yang. T: The New York Times Style Magazine, and the T logo are trademarks of The New York Times Co., NY, USA, and are used under license by Atlas Press Pte Ltd.Content reproduced from T: The New York Times Style Magazine, copyright 2016 The New York Times Co. and/or its contributors, all rights reserved. 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