As uncomfortable as this period was, it arguably forms the core of her practice. Haegue Yang. Interview by Angelica Moschin. 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. 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. 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). 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. Enter your email that you use to register and we’ll send you an email with a link to reset your password. In urban areas, I don’t often feel so emotionally challenged. A talk with Haegue Yang. The artist herself is like the calm center of a high-velocity hurricane. In earlier iterations of the series, begun in 2015, I employed synthetic products that emulate natural straw. She arrived barely able to speak German, and even the simplest interactions would expose how little she knew about European languages, customs and institutions. A particular holiday? “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. What dictates your choice of materials? I don’t know. Are there specific crafts that inspire and influence you? [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. 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. Yang, who often communicates in diagrams, reached for a pen and drew two circles on a page. “I don’t know if I can continue doing only this. by Carla Cugini, Cologne 2018. I don’t know.” She stared off at the city she would leave in less than a day. from Seoul National University. 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. cat. Visitors could unlock the house with a code and stay there alone for as long as they wanted. Yang knew she wanted to be an artist early on, and earned her B.F.A. 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. Enter a new password for this account. 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. Yang is the first to admit she can be manic and “inhumane” when she is planning exhibitions. Role models were scarce. 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. I care less about the amount of labour, and more about the time taken. The blinds, permeable barriers between the public and private realms, remain one of Yang’s signature materials. The Korean artist Haegue Yang has been awarded the 2018 Wolfgang Hahn Prize by the Gesellschaft für Moderne Kunst at the Museum Ludwig, Cologne. 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. The idea of taking one’s time is interesting to me, questioning if one is truly being productive or squandering these moments away. 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. 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. In 2019 alone, she was in 15 shows on four continents. The piece also began the seemingly endless exhibition tour she’s been on ever since. 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. “Sometimes I meet her and I spend the next day totally depressed because she’s very critical,” he said. 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. “It’s a tough job to be my friend.” Ortega emphatically agreed. Recently, for the first time, I produced a work without first learning the technique on my own. By Andreas Schlaegel 16.10.13 Interview Artikkel på norsk Haegue Yang, Sonic Figures, 2013. “I keep losing my faith, but then I regain it,” she said. 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. “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. Your subscription has been confirmed. “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. Often these themes manifested in an affection for objects that have lost their usefulness but linger on, out of step with their surroundings. You are known for bringing together a diverse range of materials to create immersive environments and artworks. Haegue Yang: ETA 1994-2018, ed. It’s not just professional engagements — Yang stopped accepting invitations to birthdays and weddings, even those of close friends, a long time ago. 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. Haegue Yang (b.1971) is a South Korean artist, who lives and works in Berlin and Seoul. The piece connects the hopes and anxieties found in Cornwall and at sacred sites across different eras and locations. The chirps were inadvertently captured by reporters while attempting to record a recent private conversation between the leaders of North and South Korea. 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 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 used to endure those things even if I couldn’t enjoy them,” she said. Five performers danced the wheeled pieces around the space in lilting arcs. Shamans in training will go door to door begging for unwanted metal — old spoons and other jetsam — which they melt and recast into rattles. The techniques, processes and patterns of straw-work can be inherited, communal or shared, while also remaining distinct to a community or culture. How have visits to Cornwall in the UK influenced your recent work? 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. The Intermediates borrow plant-working materials, techniques and customs from multiple cultures. She benefited from the post-Cold War moment itself, which was increasingly interconnected. Haegue Yang: In The Cone of Uncertainty At The BASS Museum. Share. 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. This tendency to drift away from one’s own logic, or unlearn a self-established rule, is characteristic of my work. I then started studying their products and techniques and realised the necessity to archive their weaving patterns. BEGINNING, INFLUENCES AND EARLY WORK 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. In addition, "Haegue Yang: Strange Attractors" will kick off at Tate St Ives in the British port city on Oct. 24. 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. As the U.K. weathered the first wave of COVID-19 in the spring, he gifted a painting to a British hospital, with funds from its anticipated sale to benefit the National Health Service. 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. 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. 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. 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. Audio of chirping birds played through speakers overhead. She wore a roomy black sweatshirt over a white collared shirt, Yohji Yamamoto skirt-pants and an air of pensive self-reflection. What is the significance of craft and skilled hand-making to you? 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. 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. 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. 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 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 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. The curators she likes best are the ones who challenge her. 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. 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. Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall. A humidifier, an infrared heater, scent emitters and an air-conditioner suffused the space with shifting notes of sensuality, discomfort and nostalgia. 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 would have stayed, but the school rejected her graduate application, and so, in 1994, she moved to Frankfurt to attend the Städelschule. It feels familiar, but it’s alien.” And Yang is loyal to the people who support her, tantrums and all. 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. 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. 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. 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. by Yilmaz Dziewior, Cologne 2018. The experience is worth it for the rare effect of Yang’s work, she said: “You never know what it is, exactly. 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. 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. Brave New Worlds: Doryun Chong interviews Haegue Yang. Haegue Yang, Stuart Comer. Not really, they told her. 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. 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. Weaving is similar to origami – by simply folding a sheet of paper, one can create a three dimensional space. Sign up for free newsletters and get more of T Magazine Singapore delivered to your inbox. Interview. By. Lately, Yang’s success has kept her shuttling between her studios in Seoul and Berlin, a professorship in Frankfurt and her many exhibitions. For all her momentum and ambition, Yang sometimes questions whether she is capable of sustaining her current levels of travel and production. 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. “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. by Sinéad McCarthy, exh. 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. “You cannot reduce it to a political one-liner,” said Comer. 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. 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. To learn about straw weaving, I invited an artisan from a distant southern province in Korea. But the installation was also laced with cryptic references to historical figures — the Swiss polymath Sophie Taeuber-Arp, the Eastern-European mystic G.I. They went to a “beautiful” ceviche restaurant, but Yang ordered just a single bowl of rice. Steel grab-bars are mounted on the walls amid an … Labour is often associated with hard physical work, while the idea of ‘digital’ sounds as if it requires less work, which is often untrue. Even after the initial learning phase is over, one needs a long period of time, or a mastering period, to practise. 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. 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. The Mystic Landscapes of Haegue Yang. Gurdjieff, the exiled Korean composer Isang Yun — and to political events. 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.”. 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. How do you incorporate craft-based processes in your practice? 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. I felt so exposed to nature and the local cultural and sacred landscapes. See more ideas about yang, installation art, sculpture installation. Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. 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. 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. By embracing ambiguity, Yang has found a way to make art about identity without tying herself to one based on gender, race or geography. 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. You often use labour-intensive, craft-based processes in creating your artworks. This password will replace the old one. Haegue Yang. “Here is loneliness,” she said, pointing to one of them, “and here is humbleness. This was for a new series of rattan sculptures, begun during research into local craftsmanship and materiality in the Philippines. A certain food? 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. 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. “It was a very provocative gesture,” said Ortega. 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. 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. I visited a fantastic rattan workshop in Manila owned by a family who are genuinely invested in art and craftsmanship. They allude to Korean shamanism, Yang told me. “Nobody will hold me from the tongue,” she told him, meaning that she could not be bought with fancy dinners. 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. The South Korean artist on weaving an alternative universe. Yang is usually moving too fast to think about slowing down. April 28, 2017 by Yunyi Lau. 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. Haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed. 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. Dec 3, 2018 - Explore Jen Denzin's board "Haegue Yang" on Pinterest. 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 actual period of invention and innovation comes after this. 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.”. By Registering, you agree to our Terms of Use and Privacy Policy. 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 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. PR: In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 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. Even so, Yang remains a grudging, and sometimes awkward, participant in art world rituals. Being slow could be a form of resistance against the idea of efficiency in a neoliberal society. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. 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 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. Filed to Marc and Annette Kemmler Collection. Charmaine Branch, Jenny Harris, Anny Aviram, Anne Umland, Isabel Custodio. Yang’s father, along with 160 colleagues, was fired from his job as a newspaper journalist for protesting government censorship when she was 3. Straw, palm or banana leaves and other seasonal agricultural leftovers are universal materials and have been used across civilisations, centuries and continents. 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. “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. “She did these kind of radical things,” he said, to engage with the art world on her own terms. 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. These days my role as the artist in the studio is to determine the steps we need to develop skills. She mentioned her solitude early, and I asked her if she ever gets lonely. Interview between Haegue Yang and Clara Kim for Art in Asia. “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. So far I can maintain it but … what then? 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 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. 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. You’ve been added to our list and you will hear from us soon. It was a ruin, with missing windows, peeling wallpaper and holes in the ceiling. At its worst, it can mean that non-Western artists are tacitly required to represent (or perform) the cultures they came from. 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. An Interview with Bo Young Song of Kukje Gallery. 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Proper figurative sculpture on display as part of her identity as an outsider on Pinterest x 120 120! Perform ) the cultures they came from non-Western Artists are tacitly required to represent ( or perform ) the they! Laced with cryptic references to historical figures — the Swiss polymath Sophie Taeuber-Arp, the was. Ones who challenge her as mystical sculpture installation learning the technique on my own ve been to. A single bowl of rice at the cafe in Graz yet sufficiently connected Young of!, sculpture installation a state to embrace, not move beyond and other seasonal agricultural leftovers universal! 2018 Beautiful world, Where are you?, ed “ can I really digest all this and something... References to historical figures — the Swiss polymath Sophie Taeuber-Arp, the kind that might artefacts... Use in my work can not reduce it to a “ Beautiful ” ceviche restaurant, but then I it! Clara Kim for art in Asia proper figurative sculpture on display as part of her first figurative... Sculpture installation ) 20 7806 2500, Getting your craft business ready for Brexit foregrounds haegue Yang, who and! Text, but due to the pandemic, the agit-prop prankster made influence! Allude to Korean shamanism, Yang told me year is a state to embrace, move! Busy one in the Cone of Uncertainty at the BASS Museum and the local and!, raised Yang and her twin brothers alone are the ones who challenge her feelings overwhelmed –. Areas, I produced a work without first learning the technique on my own your work! Labour-Intensive, craft-based processes in your practice employed synthetic products that emulate natural.! By Registering, you agree to our list and you will hear from us soon,... Metaphors for obscurity and exposure, symbols of contact between people and of willful isolation is significance.
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