With sensual, melancholy works made from venetian blinds and other domestic objects, Yang has managed to escape the conspicuous identity politics that define much of the contemporary art world. Yang was not politically engaged at the time, but these experiences became intrinsic parts of her work, as did the rapid industrialisation of South Korea, which underscores her interest in labour and the effects of mass-produced goods on traditional crafts and the natural world. 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. She mentioned her solitude early, and I asked her if she ever gets lonely. Dawn Blackman, image courtesy of the artist, Greene Naftali, New York and MoMA, Lawrence O’Hana Gallery, image courtesy of the artist and Greene Naftali, New York, Daenam Kim, image courtesy of the artist and Greene Naftali, New York, The Munich Atelier Where Stained Glass Comes to Life, An Iconic Jewelled Cuff Bracelet Inspired by The Macabre, On Set | Liu Shishi on Beauty Secrets and Fragrance Memories, Science of Communication — A Study on How to Make Myself Understood, Furnitury Objects — Students’ Union Satie. Steel grab-bars are mounted on the walls amid an … 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. 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. by Sinéad McCarthy, exh. If I know that the technique will be important, I invite an artisan to give a workshop to the studio so that we learn together. An Interview with Bo Young Song of Kukje Gallery. How have visits to Cornwall in the UK influenced your recent work? by Carla Cugini, Cologne 2018. 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. Read more interviews with inspiring artists. 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. To learn about straw weaving, I invited an artisan from a distant southern province in Korea. One early work, “Furnitury Objects — Students’ Union Satie” (2000) involves a small table she salvaged from the streets of Frankfurt alongside a neglected chair borrowed from a friend and a bench from a theater. This password will replace the old one. Oct 24, 2019 Interview. In addition, "Haegue Yang: Strange Attractors" will kick off at Tate St Ives in the British port city on Oct. 24. “She did these kind of radical things,” he said, to engage with the art world on her own terms. 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. 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. The curators she likes best are the ones who challenge her. At its worst, it can mean that non-Western artists are tacitly required to represent (or perform) the cultures they came from. T: The New York Times Style Magazine Singapore’s best videos: digital house tours from around the world, behind-the-scenes looks at cover shoots and more. Interview by Angelica Moschin. The chirps were inadvertently captured by reporters while attempting to record a recent private conversation between the leaders of North and South Korea. 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. These instruments, said Yang, “train their ears to listen to ghosts.” Rattles in hand, the shamans act as messengers between the human and spirit worlds. 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. Haegue Yang: In The Cone of Uncertainty At The BASS Museum. “It’s a tough job to be my friend.” Ortega emphatically agreed. This tendency to drift away from one’s own logic, or unlearn a self-established rule, is characteristic of my work. Yang knew she wanted to be an artist early on, and earned her B.F.A. In the new wallpaper piece, Non-Linear and Non-Periodic Dynamics, and in the new Trustworthies collage works, are notions of coastal landscapes, oceans, fog, floods, rain, waterfalls, storms and even dams, taps and buckets. Haegue Yang interviewed by Kyla McDonald and Steinar Sekkingstad. 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. Just as the institutions of the 1980s and ’90s seized on artists creating work around their socially marginalised identities (female, gay, nonwhite), it sometimes feels as though the current art world showcases people born outside the United States or Europe only on the grounds that their art refers to their heritage. Images courtesy of the BASS Museum and the artist. The piece connects the hopes and anxieties found in Cornwall and at sacred sites across different eras and locations. WHEN THE ARTIST Haegue Yang shows old artworks in new places, she likes to create a fresh piece that links the exhibition to the local context. 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. 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. The artist herself is like the calm center of a high-velocity hurricane. I had plans to return to Manila to learn more, but due to the pandemic, the trip was cancelled. She wore a roomy black sweatshirt over a white collared shirt, Yohji Yamamoto skirt-pants and an air of pensive self-reflection. Even after the initial learning phase is over, one needs a long period of time, or a mastering period, to practise. Tellingly, Yang, who is never in one place for very long, often makes use of the kinds of household items people only acquire when they have settled somewhere: cans of artichoke hearts, umbrella stands, fridge magnets, towels, tomato paste. 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. 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. One of Yang’s first big comeback pieces, and the one that launched her career, was 2006’s “Sadong 30,” which took place in Incheon, a port city in South Korea, inside her late grandmother’s old house, abandoned for nearly a decade. The only downside is existential: “What comes along with the intensity of the work is you almost lose yourself,” she said, although even this condition has its advantages: “I think the confusion is good to have.”. Brave New Worlds: Doryun Chong interviews Haegue Yang. Recently, for the first time, I produced a work without first learning the technique on my own. 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. April 28, 2017 by Yunyi Lau. “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. They went to a “beautiful” ceviche restaurant, but Yang ordered just a single bowl of rice. “She always creates conditions for her own security or her own confidence.”. T.J. Demos, “Accommodating the Epic Dispersion: Haegue Yang in Conversation With T.J. Demos,” in Haegue Yang (Munich: Haus der Kunst, 2013), 71-83. So far I can maintain it but … what then? The Intermediates borrow plant-working materials, techniques and customs from multiple cultures. I visited a fantastic rattan workshop in Manila owned by a family who are genuinely invested in art and craftsmanship. You’ve been added to our list and you will hear from us soon. 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. Dec 3, 2018 - Explore Jen Denzin's board "Haegue Yang" on Pinterest. I also wanted to learn macramé for a long time. I felt so exposed to nature and the local cultural and sacred landscapes. A single sculpture of hers might include hand-knit textiles, light bulbs, bamboo roots and hamster tunnels, all dangling from a metal garment rack on wheels. Not really, they told her. The art world might be “vain” and “parasitic,” but “at the same time, this is also often a shelter for so many minor voices” with “so much more tolerance that you cannot find anywhere else.” This isn’t to say she doesn’t still come home “depressed” and “disgusted” from some of the obligatory social functions that come with the job, but she has also come to embrace her position within the industry, if somewhat ambivalently. 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. Your subscription has been confirmed. The Intermediate – Tilted Bushy Lumpy Bumpy, 2016. This catalogue accompanies two parallel solo exhibitions by Haegue Yang held in the fall of 2013: “Journal of Bouba/kiki” at Glasgow Sculpture Studios (October 5–December 20, 2013); and “Journal of Echomimetic Motions” at Bergen Kunsthall (October 18–December 22, 2013). See more ideas about yang, installation art, sculpture installation. 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. She would have stayed, but the school rejected her graduate application, and so, in 1994, she moved to Frankfurt to attend the Städelschule. They visited us in Seoul several times, and we learned straw weaving together in the garden of my home in Seoul, sitting on the ground in a circle. Ashley Dawson, “Moving Images: An Interview with TJ Demos,” Social Text Online (June 3, 2013). The notion of violent storms as a binding force fascinated the 48-year-old South Korean artist, whose sculptures, room-size environments and videos often address themes of individual and national identity, displacement, isolation and community. I hope to return in the future to deepen my experience and understanding of rattan work and generate new sculptures with the artisans there.Strange Attractors is due to run until 3 May 2021 at Tate St Ives, but is currently closed due to the national COVID-19 lockdown. Yang’s father, along with 160 colleagues, was fired from his job as a newspaper journalist for protesting government censorship when she was 3. Marc and Annette Kemmler Collection. Courtesy: Gesellschaft für Moderne Kunst and the artist. 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. “I want to be critical but at the same [time] I don’t want to be someone who keeps complaining,” she said. Yang is usually moving too fast to think about slowing down. “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. “Hurricanes,” they said, half joking. The Mystic Landscapes of Haegue Yang. For her thesis show in 1998, Yang presented a large case on metal legs, the kind that might display artefacts or specimens. Humour is a major thread throughout Yang’s work. “Can I really digest all this and give something back?” she wondered aloud at the cafe in Graz. It’s not just professional engagements — Yang stopped accepting invitations to birthdays and weddings, even those of close friends, a long time ago. How do you incorporate craft-based processes in your practice? In the summer of 2008 during the preparations for Yang‘s solo exhibition Asymmetric Equality at REDCAT, Los Angeles Haegue Yang for Art in Asia By Clara Kim Since 2006, Haegue Yang’s installations have taken the form of temporary and ephemeral fields of sensory Interview between Haegue Yang and Clara Kim for Art in Asia. 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. Weaving is similar to origami – by simply folding a sheet of paper, one can create a three dimensional space. Haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed. I care less about the amount of labour, and more about the time taken. Filed to It was a ruin, with missing windows, peeling wallpaper and holes in the ceiling. She was born in Seoul in 1971, 26 years after the Korean Peninsula had been divided, amid political upheaval that would cleave her family apart. A particular holiday? 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. “We talk about a ‘globalised world’ as if it was such a shallow, trendy thing, but that merging of cultures had such a big impact on my biography,” she said. Haegue Yang: ETA 1994-2018, ed. by Yilmaz Dziewior, Cologne 2018. Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. 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. Haegue Yang Museum of Contemporary Art and Design (MCAD), Manila Concern is an auspicious word in this climate of global pandemic. It feels familiar, but it’s alien.” And Yang is loyal to the people who support her, tantrums and all. In this two part interview, which traces certain aspects of the artist’s career from 2001 to today, Yang discusses inspiration for her work, the underlying ideas that inform it, works that will appear at the Taipei Biennial and Mediacity Seoul, and the challenges she still wishes to explore. For all her momentum and ambition, Yang sometimes questions whether she is capable of sustaining her current levels of travel and production. Charmaine Branch, Jenny Harris, Anny Aviram, Anne Umland, Isabel Custodio. 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. 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. Crafts Council44a Pentonville RoadLondon N1 9BY, reception@craftscouncil.org.uk+44 (0)20 7806 2500, Getting your craft business ready for Brexit. The techniques, processes and patterns of straw-work can be inherited, communal or shared, while also remaining distinct to a community or culture. 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. What dictates your choice of materials? cat. Oct 25, 2019 Interview. The Korean artist Haegue Yang has been awarded the 2018 Wolfgang Hahn Prize by the Gesellschaft für Moderne Kunst at the Museum Ludwig, Cologne. [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. “I don’t know if I can continue doing only this. These elements were illuminated in the nearby wall text, but the bells went unexplained. A talk with Haegue Yang. Haegue Yang is a Korean artist based in Berlin and Seoul who is well known for working with mundane materials such as venetian blinds, decorative lights, and fans. You need to type at least 2 charecters to seach. A certain food? The Thai artist Rirkrit Tiravanija, who is known for performances in which he cooks and serves meals for large audiences, “was the only one who wasn’t painted by Orientalism,” she said, meaning that he was seen as an artist first, an Asian artist second. Gurdjieff, the exiled Korean composer Isang Yun — and to political events. “I’m not so good at celebrating,” she said. Lately, Yang’s success has kept her shuttling between her studios in Seoul and Berlin, a professorship in Frankfurt and her many exhibitions. 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. These days my role as the artist in the studio is to determine the steps we need to develop skills. Are there specific crafts that inspire and influence you? “It just didn’t exist,” she said. 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. The blinds, permeable barriers between the public and private realms, remain one of Yang’s signature materials. Audio of chirping birds played through speakers overhead. 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. In urban areas, I don’t often feel so emotionally challenged. 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. At the opening of the group exhibition at Kunsthaus Graz, a futuristic space that has more in common architecturally with the Death Star than with the typical art museum, she spent the party perched on a small leather sofa at the end of a long, glassy black bubble of a room overlooking the otherwise quaint Austrian city. “I have the feeling as if my person, like my use of the German language, were characterised by incompleteness, as if it had a crack,” she wrote in an early text piece from 2000 called “Science of Communication — A Study on How to Make Myself Understood.” The fractured, confessional document, which she presented on a plain typewritten page taped to a gallery wall, was an exercise in self-exposure. In earlier iterations of the series, begun in 2015, I employed synthetic products that emulate natural straw. 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. This was for a new series of rattan sculptures, begun during research into local craftsmanship and materiality in the Philippines. Yang, now working in Berlin, was born in Seoul in 1971. Straw, palm or banana leaves and other seasonal agricultural leftovers are universal materials and have been used across civilisations, centuries and continents. Yang, who often communicates in diagrams, reached for a pen and drew two circles on a page. 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. “I used to endure those things even if I couldn’t enjoy them,” she said. Sentimental, melancholic, even romantic feelings overwhelmed me – tough and rough, sometimes dangerous, as well as mystical. 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. Liverpool Biennial, Liverpool 2018. YANG’S INTEREST IN contentious borders — of nations, between neighbours and within one’s self — stems partly from the series of separations that marked her childhood. Known for using utilitarian household items, from space heaters to extension cords, and placing them out of context, Haegue Yang’s works reflect the transitory nature of the artist’s own experience of living and working in multiple locations. Every year is a busy one in the Banksy-verse, but in 2020, the agit-prop prankster made his influence felt far and wide. PR: In the Cone of Uncertainty foregrounds Haegue Yang’s (b. I am interested in all types of weaving, because it is fascinating for me to weave thin materials to create a surface, which later can be developed into a three-dimensional space. Interview. She is best known for drawing on a wide repertoire of ordinary household objects to create visually abstract sculpture and installations that delve into a cacophony of social, historical and political narratives. A humidifier, an infrared heater, scent emitters and an air-conditioner suffused the space with shifting notes of sensuality, discomfort and nostalgia. “You cannot reduce it to a political one-liner,” said Comer. Visitors could unlock the house with a code and stay there alone for as long as they wanted. Some of my studio staff are better than me at many of the techniques I use in my work. The South Korean artist on weaving an alternative universe. Over the past decade, Yang’s work has appeared at some of the most esteemed contemporary art forums in the world — including Documenta in Kassel, Germany, and the Venice Biennale — and she recently filled the atrium of the Museum of Modern Art in New York with an ambitious installation blending sculpture and performance. Eungie Joo, who curated the Korean Pavilion that Yang was a part of in 2009, said, “We had to credit Barbara because Haegue wouldn’t have been able to psychologically maintain herself without people like Barbara always believing in her.”. Being slow could be a form of resistance against the idea of efficiency in a neoliberal society. 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.". Shamans in training will go door to door begging for unwanted metal — old spoons and other jetsam — which they melt and recast into rattles. Haegue Yang. In her world-wide studies, transcending ART in the fusion of color and light, ART has kept Geline connected with the spirit of the land and people. From Storage to Gallery: Florine Stettheimer’s Four Panel Screen. If I didn’t travel, I imagine I’d feel much more confident, but not so humbled.” Yang is single by design, and has no children and few close friends. Enter your email that you use to register and we’ll send you an email with a link to reset your password. Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall. “It was a very provocative gesture,” said Ortega. Role models were scarce. Yang’s influences are doubly defiant: nearly restrained from legibility, these figures resurface still, like silent ghosts haunting stories untold. “Here is loneliness,” she said, pointing to one of them, “and here is humbleness. Haegue Yang Selected Bibliography . 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). After months of meteorological research, Yang produced a new work for the Bass show: “Coordinates of Speculative Solidarity,” a chaotic floor-to-ceiling digital collage swirling with storm-tracking symbols, satellite photos of Floridian McMansions, distorted palm trees and sinister gyres that covers vast swathes of the museum like dystopian wallpaper. 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. She arrived barely able to speak German, and even the simplest interactions would expose how little she knew about European languages, customs and institutions. 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. “I keep losing my faith, but then I regain it,” she said. 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