Yang knew she wanted to be an artist early on, and earned her B.F.A. In earlier iterations of the series, begun in 2015, I employed synthetic products that emulate natural straw. To save articles or get newsletters, alerts or recommendations - all free. 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. Dec 3, 2018 - Explore Jen Denzin's board "Haegue Yang" on Pinterest. You are known for bringing together a diverse range of materials to create immersive environments and artworks. 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. The techniques, processes and patterns of straw-work can be inherited, communal or shared, while also remaining distinct to a community or culture. 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. 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. 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. A talk with Haegue Yang. The South Korean artist on weaving an alternative universe. 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. It’s not just professional engagements — Yang stopped accepting invitations to birthdays and weddings, even those of close friends, a long time ago. The Korean artist Haegue Yang has been awarded the 2018 Wolfgang Hahn Prize by the Gesellschaft für Moderne Kunst at the Museum Ludwig, Cologne. We spoke in an old-fashioned cafe with scuffed parquet floors and a resplendent strudel that Yang discovered a few years ago when she had a solo exhibition at the same institution. “Nobody will hold me from the tongue,” she told him, meaning that she could not be bought with fancy dinners. After the meal, he asked her why she did it. “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. “Every institution now wants to be global and to have a more international and cosmopolitan point of view, but what does that really mean?” asked Stuart Comer, MoMA’s chief curator of media and performance, who organised Yang’s exhibition. Are there specific crafts that inspire and influence you? 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. 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. Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall. These days my role as the artist in the studio is to determine the steps we need to develop skills. “She did these kind of radical things,” he said, to engage with the art world on her own terms. From Storage to Gallery: Florine Stettheimer’s Four Panel Screen. 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. 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. “I used to endure those things even if I couldn’t enjoy them,” she said. But, as Yang has noted, it also might have been “an act of self-empowerment by an immigrant artist” at a moment when gaining international art-world recognition as an Asian woman was practically unheard-of. “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. Some of my studio staff are better than me at many of the techniques I use in my work. An Interview with Bo Young Song of Kukje Gallery. So far I can maintain it but … what then? “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. 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. Charmaine Branch, Jenny Harris, Anny Aviram, Anne Umland, Isabel Custodio. 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 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. “I don’t know if I can continue doing only this. 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. Enter your email that you use to register and we’ll send you an email with a link to reset your password. 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. 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. It feels familiar, but it’s alien.” And Yang is loyal to the people who support her, tantrums and all. 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. 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. But the installation was also laced with cryptic references to historical figures — the Swiss polymath Sophie Taeuber-Arp, the Eastern-European mystic G.I. As uncomfortable as this period was, it arguably forms the core of her practice. 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.”. The curators looked at one another. “But isn’t there any commonality you can think of?” she asked. 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. 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. Haegue Yang. “It was a very provocative gesture,” said Ortega. 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. Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. So I need to come up with a project to test new elements, materials, methods or ideas, which will lead us to the next level, to combine different materials and techniques together. The exhibition borrows its title from the scientific study of ‘strange attractors’ – the structures towards which chaotic systems tend to evolve. She wore a roomy black sweatshirt over a white collared shirt, Yohji Yamamoto skirt-pants and an air of pensive self-reflection. Yang is the first to admit she can be manic and “inhumane” when she is planning exhibitions. Monographs, Artists’ Books and Exhibition Catalogs (chronological-alphabetical) 2018 Beautiful World, Where Are You?, ed. The Mystic Landscapes of Haegue Yang. “You cannot reduce it to a political one-liner,” said Comer. by Sinéad McCarthy, exh. Humour is a major thread throughout Yang’s work. Being slow could be a form of resistance against the idea of efficiency in a neoliberal society. 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. 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. My digitally conceived works, such as my wallpaper piece, require an incredible amount of skilled labour: to identify and collect images; prepare, cut, and carefully paste; compose, scale; and finally to print and install. By embracing ambiguity, Yang has found a way to make art about identity without tying herself to one based on gender, race or geography. Haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed. She would have stayed, but the school rejected her graduate application, and so, in 1994, she moved to Frankfurt to attend the Städelschule. 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. 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 experience was harrowing but deeply formative: the genesis of her identity as an outsider. 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. They went to a “beautiful” ceviche restaurant, but Yang ordered just a single bowl of rice. Decades later, Yang would address his absence in an installation at the 2015 Sharjah Biennial 12, in which she constructed a labyrinth of cinder blocks, turbine vents, steel grates and several rooms, including one where a Korean TV channel played on mute. The chirps were inadvertently captured by reporters while attempting to record a recent private conversation between the leaders of North and South Korea. Haegue Yang. By Registering, you agree to our Terms of Use and Privacy Policy. 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.”. 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 Selected Bibliography . 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. 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. The piece connects the hopes and anxieties found in Cornwall and at sacred sites across different eras and locations. The artist herself is like the calm center of a high-velocity hurricane. Crafts Council44a Pentonville RoadLondon N1 9BY, reception@craftscouncil.org.uk+44 (0)20 7806 2500, Getting your craft business ready for Brexit. “Here is loneliness,” she said, pointing to one of them, “and here is humbleness. 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. Not really, they told her. Yang’s influences are doubly defiant: nearly restrained from legibility, these figures resurface still, like silent ghosts haunting stories untold. April 28, 2017 by Yunyi Lau. These elements were illuminated in the nearby wall text, but the bells went unexplained. Brave New Worlds: Doryun Chong interviews Haegue Yang. 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. 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. 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. 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. Haegue Yang Museum of Contemporary Art and Design (MCAD), Manila Concern is an auspicious word in this climate of global pandemic. 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. “Can I really digest all this and give something back?” she wondered aloud at the cafe in Graz. Haegue Yang: ETA 1994-2018, ed. Interview between Haegue Yang and Clara Kim for Art in Asia. 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. 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. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Recently, for the first time, I produced a work without first learning the technique on my own. 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. Filed to 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). 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. Labour is often associated with hard physical work, while the idea of ‘digital’ sounds as if it requires less work, which is often untrue. 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. The actual period of invention and innovation comes after this. 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. “I’m not so good at celebrating,” she said. She arrived barely able to speak German, and even the simplest interactions would expose how little she knew about European languages, customs and institutions. Five performers danced the wheeled pieces around the space in lilting arcs. Oct 24, 2019 Interview. “I keep losing my faith, but then I regain it,” she said. In her work, they are metaphors for obscurity and exposure, symbols of contact between people and of willful isolation. 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. By Andreas Schlaegel 16.10.13 Interview Artikkel på norsk Haegue Yang, Sonic Figures, 2013. Shamans in training will go door to door begging for unwanted metal — old spoons and other jetsam — which they melt and recast into rattles. Not long after Yang’s father’s return in 1988, her parents divorced; her mother moved away to join the workers’ and trade-union movement soon after. “It’s a tough job to be my friend.” Ortega emphatically agreed. 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. 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. 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. “Sometimes I meet her and I spend the next day totally depressed because she’s very critical,” he said. Vulnerability, she often emphasises, is a state to embrace, not move beyond. Haegue Yang interviewed by Kyla McDonald and Steinar Sekkingstad. The piece also began the seemingly endless exhibition tour she’s been on ever since. 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. Your subscription has been confirmed. I care less about the amount of labour, and more about the time taken. Gurdjieff, the exiled Korean composer Isang Yun — and to political events. 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. By. Yang’s father, along with 160 colleagues, was fired from his job as a newspaper journalist for protesting government censorship when she was 3. Enter a new password for this account. 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. What dictates your choice of materials? 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. This password will replace the old one. A humidifier, an infrared heater, scent emitters and an air-conditioner suffused the space with shifting notes of sensuality, discomfort and nostalgia. Share. 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. In addition, "Haegue Yang: Strange Attractors" will kick off at Tate St Ives in the British port city on Oct. 24. Often these themes manifested in an affection for objects that have lost their usefulness but linger on, out of step with their surroundings. I also wanted to learn macramé for a long time. 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. Today, Yang has made peace with the market. Haegue Yang, Stuart Comer. Yang, however — an artist who is not known to spend more than a few days or weeks at a time in any given place — takes a stubbornly elliptical approach, refusing to embody any single nationality or perspective in her work. 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. 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. Visitors could unlock the house with a code and stay there alone for as long as they wanted. 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. Yang placed broken and intact mirrors, a folding laundry rack, lights, an oscillating fan and clusters of delicate origami stars within the derelict rooms. At its worst, it can mean that non-Western artists are tacitly required to represent (or perform) the cultures they came from. Oct 25, 2019 Interview. I don’t know. 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. In urban areas, I don’t often feel so emotionally challenged. Yang, who often communicates in diagrams, reached for a pen and drew two circles on a page. 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. How do you incorporate craft-based processes in your practice? [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. 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