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. Lately, Yang’s success has kept her shuttling between her studios in Seoul and Berlin, a professorship in Frankfurt and her many exhibitions. Recently, for the first time, I produced a work without first learning the technique on my own. Haegue Yang. After the meal, he asked her why she did it. They went to a “beautiful” ceviche restaurant, but Yang ordered just a single bowl of rice. Vulnerability, she often emphasises, is a state to embrace, not move beyond. 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. 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. Charmaine Branch, Jenny Harris, Anny Aviram, Anne Umland, Isabel Custodio. 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. [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. 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. 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. In addition, "Haegue Yang: Strange Attractors" will kick off at Tate St Ives in the British port city on Oct. 24. I don’t know.” She stared off at the city she would leave in less than a day. Labour is often associated with hard physical work, while the idea of ‘digital’ sounds as if it requires less work, which is often untrue. Haegue Yang: ETA 1994-2018, ed. 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. 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. This password will replace the old one. The piece also began the seemingly endless exhibition tour she’s been on ever since. By Andreas Schlaegel 16.10.13 Interview Artikkel på norsk Haegue Yang, Sonic Figures, 2013. 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. 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. 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. “Here is loneliness,” she said, pointing to one of them, “and here is humbleness. In earlier iterations of the series, begun in 2015, I employed synthetic products that emulate natural straw. She mentioned her solitude early, and I asked her if she ever gets lonely. Yang, now working in Berlin, was born in Seoul in 1971. 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. Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. Yang is usually moving too fast to think about slowing down. 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. 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. The curators looked at one another. Even after the initial learning phase is over, one needs a long period of time, or a mastering period, to practise. 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.”. It feels familiar, but it’s alien.” And Yang is loyal to the people who support her, tantrums and all. 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. 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). “Sometimes I meet her and I spend the next day totally depressed because she’s very critical,” he said. “Hurricanes,” they said, half joking. What dictates your choice of materials? I felt so exposed to nature and the local cultural and sacred landscapes. 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. 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. To learn about straw weaving, I invited an artisan from a distant southern province in Korea. 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. Crafts Council44a Pentonville RoadLondon N1 9BY, reception@craftscouncil.org.uk+44 (0)20 7806 2500, Getting your craft business ready for Brexit. by Sinéad McCarthy, exh. Haegue Yang: In The Cone of Uncertainty At The BASS Museum. 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. I had plans to return to Manila to learn more, but due to the pandemic, the trip was cancelled. “I don’t know if I can continue doing only this. 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. The Mystic Landscapes of Haegue Yang. These days my role as the artist in the studio is to determine the steps we need to develop skills. Haegue Yang (b.1971) is a South Korean artist, who lives and works in Berlin and Seoul. Sentimental, melancholic, even romantic feelings overwhelmed me – tough and rough, sometimes dangerous, as well as mystical. Liverpool Biennial, Liverpool 2018. Gurdjieff, the exiled Korean composer Isang Yun — and to political events. “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. 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, 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. “Nobody will hold me from the tongue,” she told him, meaning that she could not be bought with fancy dinners. Yang’s father, along with 160 colleagues, was fired from his job as a newspaper journalist for protesting government censorship when she was 3. Your subscription has been confirmed. An Interview with Bo Young Song of Kukje Gallery. 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. “But isn’t there any commonality you can think of?” she asked. What does the title ‘Strange Attractors’ refer to? 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 Carla Cugini, Cologne 2018. 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. Haegue Yang Museum of Contemporary Art and Design (MCAD), Manila Concern is an auspicious word in this climate of global pandemic. You need to type at least 2 charecters to seach. Yang is the first to admit she can be manic and “inhumane” when she is planning exhibitions. 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. She benefited from the post-Cold War moment itself, which was increasingly interconnected. 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. Images courtesy of the BASS Museum and the artist. 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. 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. 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. I don’t know. The techniques, processes and patterns of straw-work can be inherited, communal or shared, while also remaining distinct to a community or culture. 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. A humidifier, an infrared heater, scent emitters and an air-conditioner suffused the space with shifting notes of sensuality, discomfort and nostalgia. 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. 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. What is the significance of craft and skilled hand-making to you? I also wanted to learn macramé for a long time. Are there specific crafts that inspire and influence you? Read more interviews with inspiring artists. 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. 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. from Seoul National University. How have visits to Cornwall in the UK influenced your recent work? 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. In urban areas, I don’t often feel so emotionally challenged. 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. Role models were scarce. It’s not just professional engagements — Yang stopped accepting invitations to birthdays and weddings, even those of close friends, a long time ago. Interview by Angelica Moschin. The curators she likes best are the ones who challenge her. 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). A particular holiday? Her mother, a teacher who became an author and then an activist, raised Yang and her twin brothers alone. She arrived barely able to speak German, and even the simplest interactions would expose how little she knew about European languages, customs and institutions. 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. The artist herself is like the calm center of a high-velocity hurricane. Five performers danced the wheeled pieces around the space in lilting arcs. 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. 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. The actual period of invention and innovation comes after this. 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. “You cannot reduce it to a political one-liner,” said Comer. It was a ruin, with missing windows, peeling wallpaper and holes in the ceiling. So far I can maintain it but … what then? haegue yang in conversation with t. j. demos T. J. 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