The South Korean artist dazzles Tate St Ives visitors with otherworldly robotic creatures and tributes to 20th century art greats in a show of perfect chaos. haegue yang. Yang’s work has been exhibited internationally since the mid-1990s. | Tate Images. Lorenz devised a shape for this chaos theory, which resembles a butterfly; and a large mirrored sculpture represented within the wallpaper evokes that very butterfly, while, elsewhere, graph paper sections and curving sine waves presumably represent the art of plotting and mapping. This is the first exhibition at Tate St Ives to take place across both the award-winning top-lit gallery in the new building and the spectacular sea-facing gallery in the original building. art at MMCA & Tate Modern. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. Haegue Yang, Woven Currents – Confluence of Parallels, 2020.Aluminum venetian blinds, powder-coated aluminum hanging structure, steel wire rope, LED tubes, cable. Sonic Intermediates – Three Differential Equations 2020. For a few days Haegue Yang will be appearing in the performance space of the Tate Modern Tanks. Purchase, with funds from Eleanor and Francis Shen, the David Yuile and Mary Elizabeth Hodgson Fund, Women’s Art Initiative, the Janet and Michael Scott Fund, the Contemporary Circle Fund, the Ivey … Opening up sightlines across the room, the permeable wall structures articulate the entire gallery space and cut a diagonal passageway across the centre, where Sonic Half Moons encased with patterns of nickel and brass plated bells are suspended. Haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed. the Studio International Foundation, PO Box 1545, Artificial straw, powder-coated steel frame, powder-coated mesh, casters. Website Opening times. Haegue Yang: Strange Attractors is curated by Anne Barlow, Director of Tate St Ives, with Assistant Curator Giles Jackson. Back. The Tanks: Haegue Yang Yang (born Seoul, Korea, 1971, lives and works Berlin) works with everyday materials, often domestic ones, to create colourful installations that frequently combine industrial materials with sensory effects using light and scent. Read more on My Art Guides The exhibition is taking over the entire Tate St.Ives building, occupying top-lit gallery in the new building and the suggestive … But the real reason Li is here is because his participatory, multidisciplinary, playful and cosmologically oriented practice resonates strongly with Yang’s. I have encountered the work of Yang (b1971) once before, at her South London Gallery show in 2019, but, still, the first impact is intense: my eyes - and mind - balk at the sight of a hundred bright, shiny door handles of polished chrome and brass fastened across two of the large, white gallery walls. Yang’s practice spans a wide range of media, from paper collage to performative sculpture and large-scale multi-sensorial installation, often featuring everyday objects, in addition to labour-intensive woven sculptures. 01736 796226. This autumn, the Tate St Ives will host Strange Attractors by celebrated South Korean artist Haegue Yang Words by Jessica-Christin Hametner The exhibition, which will be Yang’s largest to date in the UK, includes examples of her widely known household items, such as light bulbs, brooms and drying racks. Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. Created specifically for the digital space, the exhibition confronts the realities and tensions between our private selves and our online personas. Yang will transform these two spaces into an open-ended exploration of geometry, abstraction and the aftermath of modernism. To enter the main gallery of Haegue Yang’s three-room exhibition at Tate St Ives is to encounter an alien landscape. Those unfamiliar with the Berlin-based, South Korean artist’s work might experience a moment of panic – a realisation that, whatever cultural encounter is being laid before your startled eyes, you don’t speak this language; followed by a frantic recalibration of visual and associative sensibilities. Here, she focuses on white plastic-coated laundry racks. It’s like a duvet, it wraps around you, and you’re lost in it’, Natacha Nisic – interview: ‘We needed a place for free expression, a visibility, a female presence’. That level of inattention galvanises so much of my work ’, Christo & Jeanne-Claude’s London Mastaba Rises Again – and Again and Again, Heather Phillipson – interview: ‘I wanted to respond to the loaded political position of Trafalgar Square’, Kate Mieczkowska – interview: ‘I have always loved being in front of a big painting. Gabo’s Sonic Intermediate alter ego is a more geometrically austere character, his “head” made of layers of shiny metal, after Gabo’s Constructed Head no 2 (1916), while Li’s strikes a shaman-style pose very similar to Li’s own photographic portrait in the adjacent gallery, standing in a hooded robe, with a broomstick in his hand. But a few hours later, with their bulbs in place and lit, they come strangely to life; lightbulbs representing energy and also, perhaps, enlightenment. Aquatopia: The Imaginary of the Ocean Deep occupies all of the spectacular spaces at Tate St Ives, a fitting venue overlooking Porthmeor beach on the Atlantic Ocean. With thanks to the Li Yuan-chia Foundation and Studio Haegue Yang in Berlin and Seoul. One of our exciting projects is Haegue Yang’s solo exhibition for the MMCA Hyundai Motor Series. Haegue Yang. There are handles for manoeuvring this flirty creature around the space, though sadly, at the preview, it wasn’t certain whether movement would be allowed thanks to coronavirus restrictions. cat. Installation view of Haegue Yang Sonic Half Moon Types 2014-15 at Tate St Ives, 2020. Haegue Yang: ETA 1994-2018, ed. Haegue Yang is renowned for creating immersive environments from a diverse range of materials. Photo: Chunho An. I never stop inventing from what I see’, Shaping the World: Sculpture from Prehistory to Now – book review, Genesis, a floating church, by Denizen Works, Cybernetic Serendipity: The Computer and the Arts, Brian Dawn Chalkley: The Untold Depth of Savagery, Katharina Grosse – interview: ‘My eyes are my most important tools’, Emma Nicolson of Inverleith House: ‘Art institutions can highlight the devastating effects humans have had on the planet’, Trulee Hall – interview: ‘When I say “whore”, I wouldn’t say that it’s a bad word’, Exercising Freedom: Encounters with Art, Artists and Communities, Monica von Schmalensee – interview: ‘Architecture is an instrument for creating a better quality of life’, Susie MacMurray – interview: ‘A feather is never just a feather, and a fishhook is never just a fishhook’, Emily Jacir – interview: ‘I wanted the locals to show me what was important for them, what they thought I should see, what they wanted to talk about’, London’s Arts Labs and the 60s Avant-Garde, Eleanor Bartlett – interview: ‘When you see a great lump of tar, it’s like looking at a fundamental building block of the universe’, Toulouse-Lautrec and the Masters of Montmartre, Ali Kazim – interview: ‘When I picked up a pottery shard and it had some imprint of the potter, it was a sort of time travelling key for me’, Arik Levy and Zoé Ouvrier – interview: ‘We definitely influence each other in many ways – some we know about and many we don’t’, Nicole Eisenman: Where I Was, It Shall Be, Ann Veronica Janssens — interview: ‘I try to make visible the invisible, to work with the limits’, María Berrío: Flowered Songs and Broken Currents, Royal Academy of Arts Summer Exhibition 2020, Tim Clark – interview: ‘This set of Hokusai’s drawings is a really important piece of the jigsaw’, Billie Zangewa – interview: ‘I realised that I had chosen to embody the most disempowered human form’, Christina Quarles – interview: ‘These works are holding onto that slow-fast contrast of a physically still world and this mental chaos’, Not Without My Ghosts: The Artist as Medium, Huma Bhabha – interview: ‘The more complicated and layered the work is, the better for me’, Stuart Whipps: If Wishes Were Thrushes, Beggars Would Eat Birds, Michael Schmidt Retrospective: Photographs 1965-2014, Krištof Kintera – interview: ‘Humour helps us to survive’, Dana Schutz: Shadow of a Cloud Moving Slowly, Alexandre da Cunha – interview: ‘All my work is about combining things and making them have a conversation, or sometimes an argument’, Ayako Suwa: Taste of Reminiscence, Delicacies from Nature, Pamela Phatsimo Sunstrum – interview: ‘I needed to put my own body on the line if I was going to be asking a figure to carry a story or particular politics’, Toby Ziegler: The sudden longing to collapse 30 years of distance, Craig Gough – interview: ‘Improvisation in painting is a lot like jazz’, Jacqueline Poncelet – interview: ‘Uncertainty is all right; it gives us an opportunity to look again and think again’, Emma Critchley – interview: ‘Being underwater where everything completely shifts interested me’, En plein air: art in the time of pandemic, Alberta Whittle – interview: ‘No one can find Barbados on a map, whereas everyone can find the UK. With additional support from Kvadrat, Tate Members and Tate St Ives Members. Marc and Annette Kemmler Collection. Major exhibition of existing and new work by South Korean artist Haegue Yang, renowned for her vast and non-binary artistic languages.The materiality and aesthetics of her work are derived from her inventive methods, from using industrial and everyday materials to labour-intensive and craft-based procedures that create creature-like sculptures. Sonic Intermediate – Parameters and Unknowns after Li 215 x 172 x 172 cm. Yang spins you on a wild waltz with the modernists populating Tate St Ives to galaxies beyond. Tate St Ives 24 October 2020 – 3 May 2021. Yang’s sculptural tributes to these figures stand to attention either side of the entrance. Photo: Roger Sinek © Tate Liverpool. by seven contemporary Australian artists. This one-way route guides you through the Modern Art and St Ives displays, taking in spectacular views out onto Porthmeor beach, followed by the exhibition Strange Attractors by celebrated South Korean artist Haegue Yang. The First 50 Years of the London Group 1913-1963 Haegue Yang: Strange Attractors is curated by Anne Barlow, Director of Tate St Ives, with Assistant Curator Giles Jackson. Their hollow centres, a tribute to Hepworth’s sculptural signature, erupt with fluffy black synthetic straw, giving them a flamboyant, feminine flourish. It will be accompanied by a catalogue published by Tate Publishing and designed by Berlin-based Studio Manuel Raeder, as well as a programme of talks and events in the gallery. From Haegue Yang's immersive installations to Zanele Muholi's powerful portraits, we're excited for our upcoming show openings! This one reminds me of the cavemen – the wonderfully named Slag Brothers - whose whirling, spindly legs powered their basic, stone-age automobile in Hanna-Barbera’s iconic 1960s cartoon Wacky Races. With additional support from Kvadrat, Tate Members and Tate St Ives Members. Lie of The Land at MK Gallery 2019 The intersection between art and craft is also a strong preoccupation, as Anne Barlow, the Tate St Ives director who put this show together with Yang, says: “She’s very interested in blurring the boundaries between fine art and craft.”, Most dominant of the many components choreographed around this room to Yang’s specification is the large back wall entirely covered in her own bespoke wallpaper, some of which bleeds around and along the adjacent right-hand wall: a random-seeming collage of stock imagery, most of which features turbulent fountains, clouds and waves of water. Haegue Yang. Wilhelmina Barns-Graham (1912-2004) was a key figure in the abstract movement in Britain yet it was only towards the end of her long and productive life that she received the critical attention she deserved. The materiality and aesthetics of her work are derived from her inventive methods, from using industrial and everyday materials to labour-intensive and craft-based procedures that create creature-like sculptures. Drying racks, light bulbs, cable, zip ties, terminal strips. For the opening of the expanded building of The Museum of Modern Art, New York on October 21, 2019, MoMA commissioned Yang to create an installation for the Marron Atrium. But there is also something of corn dollies and that tradition of rural craftsmanship, now almost lost in western Europe. 180 x 95 x 95 cm. The Intermediate – Tilted Bushy Lumpy Bumpy 2016. They can be flat or three dimensional, opaque or transparent, compressed or expanded. Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. Studio International is published by: Aquatopia: The Imaginary of the Ocean Deep “These are scenes that might conjure up the landscape around here, but they are also universal. Haegue Yang. The architectural wall surfaces are also treated in three different modes: wallpapered, patterned with door knobs, and empty. Haegue Yang Selected Bibliography . Her sculptures and installations often use industrially made objects, interwoven with labour-intensive and craft-based processes. Haegue Yang: Strange Attractors, Tate St Ives, St Ives, UK Ground/work, The Clark Art Institute, Williamstown, US MMCA Hyundai Motor Series 2020: Haegue Yang – O2 &H20, National Museum of Modern and Contemporary Art (MMCA), Seoul, Korea Haegue Yang: Emergence, Art Gallery of Ontario, Ontario, Canada 2019 Articulated using her abstract visual vocabulary, her … by Carla Cugini, Cologne 2018. Here, Yang has assembled some of her characteristic domestic elements, the choreographies of which entail folding and unfolding – venetian blinds and laundry racks are a recurring motif. Photo: Tate (Matt Greenwood). Powder-coated steel frame, powder-coated mesh, powder-coated handles, casters, copper plated bells, metal rings, plastic twine, 216 x 125 x 125 cm. Taking this theory as a starting point, Yang’s exhibition creates an environment in which uncanny and seemingly disparate ideas, cultures, relations and time periods coexist. Haegue Yang is a South Korean artist working largely in performance and video art. This autumn Tate St Ives will stage Strange Attractors, the UK’s largest exhibition to date by celebrated South Korean artist Haegue Yang. She has also created a number of different performance and video works. It will be accompanied by a catalogue published by Tate Publishing and designed by Berlin-based Studio Manuel Raeder, as well as a programme of talks and events in the gallery. Some may be more serene, but it’s mostly chaotic. The Intermediate – Airflow of Pyramid Winnow 2015. Sung Hwan Kim’s installation continues until the end of October. With a National Art Pass you get. We proudly continue to support artistic ventures focusing on the exchange of ideas and experiences through a series of global art projects. Six of Yang’s Sonic Half Moons (2014-15), complete with drooping, bell-strung tendrils, rise up to the ceiling between and around these frames, their physical placement and context giving them a half-celestial, half-aquatic, drifting quality (apparently the gallery assistants will give them a spin now and again, so their delightful tinkling skirts can be heard and seen, spinning around). as part of the international Venice Glass Week from 3 until 26 September 2020. Born in South Korea in 1971, Haegue Yang is based in Berlin and Seoul and teaches at the Städelschule in Frankfurt am Main. The exhibition, which will be Yang’s largest to date in the UK, includes examples of her widely known household items, such as light bulbs, brooms and drying racks. Haegue Yang: Sol LeWitt Upside Down – Cube Structures Based on Five Modules, Central One Expanded 184 Times, Another Expanded 66 Times then Doubled and Mirrored #81-E, Maison Hermès Dosan Park, Seoul, Korea Ornament and Abstraction, kurimanzutto, Mexico City, Mexico 2016 Quasi-Pagan Seasonal Shift, Aïshti by the Sea, Antelias, Lebanon In the Cone of Uncertainty foregrounds Haegue Yang’s (b. Hepworth and Gabo have obvious links with St Ives – both adopted this part of Cornwall to carry out their bold, modernist experimentations; Hepworth’s garden studio is preserved in gently faded splendour a five-minute walk down the road. The instinctive response is to clutch at what seems immediately appealing, almost familiar: three figures Yang has created for the show to evoke the spirits of Barbara Hepworth, Naum Gabo and the lesser known, but contemporaneous Chinese artist Li Yuan-chia. 1971, Seoul, South Korea. Berlin-based South Korean artist Haegue Yang has been taking the art world by storm and her largest exhibition to date in the UK opens at the Tate St Ives on 24 October. art at MMCA & Tate Modern. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. Monographs, Artists’ Books and Exhibition Catalogs (chronological-alphabetical) 2018 Beautiful World, Where Are You?, ed. Created specifically for the digital space, the exhibition confronts the realities and tensions between our private selves and our online personas. haegue yang - strange attractors tate st ives october 24, 2020 – may 3, 2021. Haegue Yang 양혜규 梁慧圭 / Liverpool Biennial 2018 309 views 7 months ago Installation view of Beautiful world, where are you?, Liverpool Biennial, Tate Liverpool, 2018 @tate. Haegue Yang creates installations that include photographic, video, and sculptural elements and are informed by the artist’s philosophical and political investigations. Haegue Yang, Installation view of The Great Acceleration, Taipei Biennial 2014, Taiwan, 2014. Photo: Studio Haegue Yang. Drying racks, light bulbs, cable, zip ties, terminal strips. Two huge wooden frames - their slanting structural elements occasionally interrupted by oblong, horizontal boards - bisect the room, directing the visitor flow and creating curious sightlines between the objects. One of our exciting projects is Haegue Yang’s solo exhibition for the MMCA Hyundai Motor Series. All rights reserved. It turns out they are prayer cushions, inspired by a visit to St Senara church in nearby Zennor. Arthur Lanyon for Private Client, Oxford 2019. Mundus Cushion – Yielding X incorporates Yang’s variations on ‘church kneelers’ – traditionally depicting religious symbols – which Yang has abstracted into her own unique explorations of the sacred and the secular. Sol LeWitt Upside Down - Structure with Three Towers, Expanded 23 Times, Split in Three, Haegue Yang, 2015, Powder-coated aluminium, steel, plastic, LED lights and nylon. In the Cone of Uncertainty foregrounds Haegue Yang’s (b. The materiality and aesthetics of her work are derived from her inventive methods, from using industrial and everyday materials to labour-intensive and craft-based procedures that create creature-like sculptures. But it is Li, whose single work in the Tate St Ives collection Yang discovered while researching for this show in 2018, who apparently helped to consolidate the idea to incorporate biographical tributes to this important 20th-century trio in the show. Strange Attractors addresses the context of St Ives and its relationship to modernism by bringing three artistic figures together. Wilhelmina Barns-Graham: In Perspective – The Late Works Her sculptures and installations often use industrially made objects, interwoven with labour-intensive and craft-based processes. The exhibition’s title – Strange Attractors – is a concept taken from mathematics and relates to complex patterns of behaviour in chaotic natural systems. If connoisseurship was already thought to have an “antique ring” as early as 1950, this tendency would only increase, to the detriment of Kenneth Clark’s reputation. The new gallery will be divided by free-standing triangular wall structures. This autumn, the Tate St Ives will host Strange Attractors by celebrated South Korean artist Haegue Yang. The new sculptural ensemble Sonic Intermediates – Three Differential Equations is in fact based on historic as well as imaginary encounters among artists Naum Gabo, Barbara Hepworth, Li Yuan-chia and perhaps Haegue Yang herself. Nov 2,2019-Apr 5,2020. “Some people might think it’s a direct reference to Cornwall, but it isn’t,” says Barlow. This suspended sculpture is made of over 500 Venetian blinds. For Liverpool Biennial 2018, Haegue Yang has created an immersive environment for her sculpture series The Intermediates (2015-ongoing) in Tate Liverpool’s Wolfson Gallery. Haegue Yang. The paper collage series Trustworthies will be installed on the blank walls and the expansive wallpaper Non-Linear and Non-Periodic Dynamics will host the small-scaled Lacquer Paintings. Haegue Yang: Strange Attractors, Tate St Ives, review: the zaniest, peppiest artworks around 4/5 The South Korean artist’s installations are a whirl of robot-like shapes and festive materials. Tate St Ives will stage a major exhibition of existing and new work by South Korean artist Haegue Yang, renowned for her vast and non-binary artistic languages.The materiality and aesthetics of her work are derived from her inventive methods, from using industrial and everyday materials to labour-intensive and craft-based procedures that create creature-like sculptures. Discover the work of Haegue Yang, who explores the history of conceptual art as shaped by a set of rules Haegue Yang - Materials and Objects at Tate Modern | Tate Skip to main content Haegue Yang’s mobile sculptures, Dress Vehicles, will be displayed in Tank 2 - the new venue at Tate Modern Weird or wonderful its relationship to modernism by bringing three artistic figures together triangular... Digital processes, and empty a South Korean artist Haegue Yang, renowned for her and! Through the exhibition and this environment Institut für Auslandsbeziehungen reference to Cornwall, but they are meant suggest. 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