I felt so exposed to nature and the local cultural and sacred landscapes. 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. From Storage to Gallery: Florine Stettheimer’s Four Panel Screen. Even so, Yang remains a grudging, and sometimes awkward, participant in art world rituals. Recently, for the first time, I produced a work without first learning the technique on my own. 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. 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 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. She mentioned her solitude early, and I asked her if she ever gets lonely. You often use labour-intensive, craft-based processes in creating your artworks. 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. Yang is usually moving too fast to think about slowing down. Oct 25, 2019 Interview. Interview between Haegue Yang and Clara Kim for Art in Asia. These days my role as the artist in the studio is to determine the steps we need to develop skills. Steel grab-bars are mounted on the walls amid an … 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. It’s not just professional engagements — Yang stopped accepting invitations to birthdays and weddings, even those of close friends, a long time ago. What dictates your choice of materials? 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 Role models were scarce. [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’m not so good at celebrating,” she said. 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. You need to type at least 2 charecters to seach. A particular holiday? 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. The actual period of invention and innovation comes after this. “You cannot reduce it to a political one-liner,” said Comer. Haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed. cat. Haegue Yang Museum of Contemporary Art and Design (MCAD), Manila Concern is an auspicious word in this climate of global pandemic. I had plans to return to Manila to learn more, but due to the pandemic, the trip was cancelled. 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. How have visits to Cornwall in the UK influenced your recent work? 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. 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 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. In her work, they are metaphors for obscurity and exposure, symbols of contact between people and of willful isolation. 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. They went to a “beautiful” ceviche restaurant, but Yang ordered just a single bowl of rice. 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. 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. The experience was harrowing but deeply formative: the genesis of her identity as an outsider. “Can I really digest all this and give something back?” she wondered aloud at the cafe in Graz. Interview by Angelica Moschin. To save articles or get newsletters, alerts or recommendations - all free. The idea of taking one’s time is interesting to me, questioning if one is truly being productive or squandering these moments away. 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. 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. Are there specific crafts that inspire and influence you? 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. Enter your email that you use to register and we’ll send you an email with a link to reset your password. Haegue Yang: ETA 1994-2018, ed. By embracing ambiguity, Yang has found a way to make art about identity without tying herself to one based on gender, race or geography. 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. Often these themes manifested in an affection for objects that have lost their usefulness but linger on, out of step with their surroundings. The piece connects the hopes and anxieties found in Cornwall and at sacred sites across different eras and locations. I don’t know.” She stared off at the city she would leave in less than a day. Every year is a busy one in the Banksy-verse, but in 2020, the agit-prop prankster made his influence felt far and wide. It was a ruin, with missing windows, peeling wallpaper and holes in the ceiling. Filed to Your work is often inspired by context. Yang’s father, along with 160 colleagues, was fired from his job as a newspaper journalist for protesting government censorship when she was 3. 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. 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. The piece also began the seemingly endless exhibition tour she’s been on ever since. “I don’t know if I can continue doing only this. 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. In addition, "Haegue Yang: Strange Attractors" will kick off at Tate St Ives in the British port city on Oct. 24. 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. It feels familiar, but it’s alien.” And Yang is loyal to the people who support her, tantrums and all. 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. Haegue Yang (b.1971) is a South Korean artist, who lives and works in Berlin and Seoul. 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). So far I can maintain it but … what then? “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. The exhibition borrows its title from the scientific study of ‘strange attractors’ – the structures towards which chaotic systems tend to evolve. 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 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. Photo: Studio Haegue Yang. 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. Yang placed broken and intact mirrors, a folding laundry rack, lights, an oscillating fan and clusters of delicate origami stars within the derelict rooms. “But isn’t there any commonality you can think of?” she asked. April 28, 2017 by Yunyi Lau. 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.”. 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. 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. 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. Gurdjieff, the exiled Korean composer Isang Yun — and to political events. 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. 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. 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. “She always creates conditions for her own security or her own confidence.”. Vulnerability, she often emphasises, is a state to embrace, not move beyond. The Intermediates borrow plant-working materials, techniques and customs from multiple cultures. These elements were illuminated in the nearby wall text, but the bells went unexplained. Straw, palm or banana leaves and other seasonal agricultural leftovers are universal materials and have been used across civilisations, centuries and continents. 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. 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. Brave New Worlds: Doryun Chong interviews Haegue Yang. Haegue Yang. Yang knew she wanted to be an artist early on, and earned her B.F.A. Enter a new password for this account. 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