“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. “Can I really digest all this and give something back?” she wondered aloud at the cafe in Graz. 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. Your subscription has been confirmed. “She did these kind of radical things,” he said, to engage with the art world on her own terms. A particular holiday? What does the title ‘Strange Attractors’ refer to? So far I can maintain it but … what then? 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. haegue yang in conversation with t. j. demos T. J. Demos [TJD] In preparing for your 2012 commission at Haus der Kunst, how did you think about approaching the difficult history represented by the architectural site, given that the neoclassical building was constructed during the 1930s following plans of architect Paul Ludwig Troost, representing BEGINNING, INFLUENCES AND EARLY 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. Yang’s influences are doubly defiant: nearly restrained from legibility, these figures resurface still, like silent ghosts haunting stories untold. By Andreas Schlaegel 16.10.13 Interview Artikkel på norsk Haegue Yang, Sonic Figures, 2013. 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. Sentimental, melancholic, even romantic feelings overwhelmed me – tough and rough, sometimes dangerous, as well as mystical. In her work, they are metaphors for obscurity and exposure, symbols of contact between people and of willful isolation. Lately, Yang’s success has kept her shuttling between her studios in Seoul and Berlin, a professorship in Frankfurt and her many exhibitions. “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. 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. Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall. Today, Yang has made peace with the market. 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. Humour is a major thread throughout Yang’s work. It feels familiar, but it’s alien.” And Yang is loyal to the people who support her, tantrums and all. I then started studying their products and techniques and realised the necessity to archive their weaving patterns. 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. A talk with Haegue Yang. Her mother, a teacher who became an author and then an activist, raised Yang and her twin brothers alone. Sign up for free newsletters and get more of T Magazine Singapore delivered to your inbox. The curators she likes best are the ones who challenge her. For her thesis show in 1998, Yang presented a large case on metal legs, the kind that might display artefacts or specimens. You need to type at least 2 charecters to seach. I also wanted to learn macramé for a long time. 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. Yang’s father, along with 160 colleagues, was fired from his job as a newspaper journalist for protesting government censorship when she was 3. The idea of taking one’s time is interesting to me, questioning if one is truly being productive or squandering these moments away. 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. 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. Images courtesy of the BASS Museum and the artist. April 28, 2017 by Yunyi Lau. The piece also began the seemingly endless exhibition tour she’s been on ever since. See more ideas about yang, installation art, sculpture installation. She would have stayed, but the school rejected her graduate application, and so, in 1994, she moved to Frankfurt to attend the Städelschule. Straw, palm or banana leaves and other seasonal agricultural leftovers are universal materials and have been used across civilisations, centuries and continents. When passion and devotion goes over the border, is it something to condemn?” She is always working, and has spent her career deliberately isolating herself from friends and family as a kind of artistic method. “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. “I don’t know if I can continue doing only this. “I used to endure those things even if I couldn’t enjoy them,” she said. Liverpool Biennial, Liverpool 2018. By. In 2019 alone, she was in 15 shows on four continents. 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. “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. The techniques, processes and patterns of straw-work can be inherited, communal or shared, while also remaining distinct to a community or culture. Not really, they told her. 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. “Sometimes I meet her and I spend the next day totally depressed because she’s very critical,” he said. Yang placed broken and intact mirrors, a folding laundry rack, lights, an oscillating fan and clusters of delicate origami stars within the derelict rooms. She benefited from the post-Cold War moment itself, which was increasingly interconnected. 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. In urban areas, I don’t often feel so emotionally challenged. “I’m not so good at celebrating,” she said. Yang is the first to admit she can be manic and “inhumane” when she is planning exhibitions. What dictates your choice of materials? She arrived barely able to speak German, and even the simplest interactions would expose how little she knew about European languages, customs and institutions. 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. 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. 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. Crafts Council44a Pentonville RoadLondon N1 9BY, reception@craftscouncil.org.uk+44 (0)20 7806 2500, Getting your craft business ready for Brexit. Dec 3, 2018 - Explore Jen Denzin's board "Haegue Yang" on Pinterest. Some of my studio staff are better than me at many of the techniques I use in my work. from Seoul National University. But the installation was also laced with cryptic references to historical figures — the Swiss polymath Sophie Taeuber-Arp, the Eastern-European mystic G.I. Vulnerability, she often emphasises, is a state to embrace, not move beyond. “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. Recently, for the first time, I produced a work without first learning the technique on my own. You are known for bringing together a diverse range of materials to create immersive environments and artworks. “Nobody will hold me from the tongue,” she told him, meaning that she could not be bought with fancy dinners. “You cannot reduce it to a political one-liner,” said Comer. The Intermediate – Tilted Bushy Lumpy Bumpy, 2016. It’s not just professional engagements — Yang stopped accepting invitations to birthdays and weddings, even those of close friends, a long time ago. From Storage to Gallery: Florine Stettheimer’s Four Panel Screen. Haegue Yang: In The Cone of Uncertainty At The BASS Museum. The blinds, permeable barriers between the public and private realms, remain one of Yang’s signature materials. 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. 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. The exhibition borrows its title from the scientific study of ‘strange attractors’ – the structures towards which chaotic systems tend to evolve. Your work is often inspired by context. 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: 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. 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. 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. 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. “I keep losing my faith, but then I regain it,” she said. 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. She mentioned her solitude early, and I asked her if she ever gets lonely. These elements were illuminated in the nearby wall text, but the bells went unexplained. I don’t know.” She stared off at the city she would leave in less than a day. 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. “I want to be critical but at the same [time] I don’t want to be someone who keeps complaining,” she said. Visitors could unlock the house with a code and stay there alone for as long as they wanted. by Carla Cugini, Cologne 2018. 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. 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. “She always creates conditions for her own security or her own confidence.”. Interview. cat. Haegue Yang: ETA 1994-2018, ed. 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. 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. 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. 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. 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.". After years of unemployment, he — and hundreds of thousands of other South Koreans — left the family behind in the ’80s to find construction work in the Middle East. Haegue Yang Selected Bibliography . After the meal, he asked her why she did it. Enter a new password for this account. Yang is usually moving too fast to think about slowing down. The chirps were inadvertently captured by reporters while attempting to record a recent private conversation between the leaders of North and South Korea. 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. 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. 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. “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. 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. 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. By embracing ambiguity, Yang has found a way to make art about identity without tying herself to one based on gender, race or geography. The artist herself is like the calm center of a high-velocity hurricane. Interview by Angelica Moschin. An Interview with Bo Young Song of Kukje Gallery. 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. 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). Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. 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 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. I believe that every encounter, whether it’s with a person or a material, is fundamentally a mixture of accident and destiny, although I do unconsciously look for materials that carry meanings of domesticity, our world, or some quality relevant to our lives. 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.”. Interview between Haegue Yang and Clara Kim for Art in Asia. How do you incorporate craft-based processes in your practice? Share. by Sinéad McCarthy, exh. 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. Being slow could be a form of resistance against the idea of efficiency in a neoliberal society. 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. “It just didn’t exist,” she said. Yang, now working in Berlin, was born in Seoul in 1971. 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). Haegue Yang interviewed by Kyla McDonald and Steinar Sekkingstad. 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. Haegue Yang. I felt so exposed to nature and the local cultural and sacred landscapes. Oct 25, 2019 Interview. Have been used across civilisations, centuries and continents the Intermediate – Bushy. I really digest all this and give something back? ” she told,... In Korea long period of time, I invited an artisan from a distant province. And then an activist, raised Yang and her twin brothers alone artist on weaving an universe... You can not reduce it to a political one-liner, ” she,! 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