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haegue yang interview

What does the title ‘Strange Attractors’ refer to? Today, Yang has made peace with the market. Haegue Yang: In The Cone of Uncertainty At The BASS Museum. Liverpool Biennial, Liverpool 2018. 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. These elements were illuminated in the nearby wall text, but the bells went unexplained. 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. Haegue Yang Museum of Contemporary Art and Design (MCAD), Manila Concern is an auspicious word in this climate of global pandemic. 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 Being slow could be a form of resistance against the idea of efficiency in a neoliberal society. Oct 24, 2019 Interview. 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. Brave New Worlds: Doryun Chong interviews Haegue Yang. 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. Your work is often inspired by context. 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. Haegue Yang, Stuart Comer. 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. The curators she likes best are the ones who challenge her. Gurdjieff, the exiled Korean composer Isang Yun — and to political events. Filed to So far I can maintain it but … what then? She would have stayed, but the school rejected her graduate application, and so, in 1994, she moved to Frankfurt to attend the Städelschule. 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.". 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 techniques, processes and patterns of straw-work can be inherited, communal or shared, while also remaining distinct to a community or culture. 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 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 . “Nobody will hold me from the tongue,” she told him, meaning that she could not be bought with fancy dinners. 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. Visitors could unlock the house with a code and stay there alone for as long as they wanted. 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. 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. The piece connects the hopes and anxieties found in Cornwall and at sacred sites across different eras and locations. “I keep losing my faith, but then I regain it,” she said. “She always creates conditions for her own security or her own confidence.”. I also wanted to learn macramé for a long time. 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. Charmaine Branch, Jenny Harris, Anny Aviram, Anne Umland, Isabel Custodio. You need to type at least 2 charecters to seach. 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. 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. 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. The Korean artist Haegue Yang has been awarded the 2018 Wolfgang Hahn Prize by the Gesellschaft für Moderne Kunst at the Museum Ludwig, Cologne. “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. 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. 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 piece also began the seemingly endless exhibition tour she’s been on ever since. I visited a fantastic rattan workshop in Manila owned by a family who are genuinely invested in art and craftsmanship. Yang is usually moving too fast to think about slowing down. 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. 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. Yang knew she wanted to be an artist early on, and earned her B.F.A. Images courtesy of the BASS Museum and the artist. BEGINNING, INFLUENCES AND EARLY WORK Even after the initial learning phase is over, one needs a long period of time, or a mastering period, to practise. In 2019 alone, she was in 15 shows on four continents. Crafts Council44a Pentonville RoadLondon N1 9BY, reception@craftscouncil.org.uk+44 (0)20 7806 2500, Getting your craft business ready for Brexit. You are known for bringing together a diverse range of materials to create immersive environments and artworks. from Seoul National University. “It was a very provocative gesture,” said Ortega. 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. “You cannot reduce it to a political one-liner,” said Comer. What dictates your choice of materials? “I’m not so good at celebrating,” she said. 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. 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. I had plans to return to Manila to learn more, but due to the pandemic, the trip was cancelled. Sign up for free newsletters and get more of T Magazine Singapore delivered to your inbox. 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. Role models were scarce. In urban areas, I don’t often feel so emotionally challenged. “I want to be critical but at the same [time] I don’t want to be someone who keeps complaining,” she said. By. They went to a “beautiful” ceviche restaurant, but Yang ordered just a single bowl of rice. The experience is worth it for the rare effect of Yang’s work, she said: “You never know what it is, exactly. After the meal, he asked her why she did it. 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 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. “Here is loneliness,” she said, pointing to one of them, “and here is humbleness. 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. 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. 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 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. 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. 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. Yang, who often communicates in diagrams, reached for a pen and drew two circles on a page. A particular holiday? Sentimental, melancholic, even romantic feelings overwhelmed me – tough and rough, sometimes dangerous, as well as mystical. Until a year and a half ago, when she finally moved, her Berlin apartment had nothing in it except a futon on the floor and a lighting system she rigged to switch on and off while she was away. 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. Ashley Dawson, “Moving Images: An Interview with TJ Demos,” Social Text Online (June 3, 2013). I care less about the amount of labour, and more about the time taken. 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. 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. Haegue Yang (b.1971) is a South Korean artist, who lives and works in Berlin and Seoul. The actual period of invention and innovation comes after this. April 28, 2017 by Yunyi Lau. 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 experience was harrowing but deeply formative: the genesis of her identity as an outsider. Yang’s influences are doubly defiant: nearly restrained from legibility, these figures resurface still, like silent ghosts haunting stories untold. 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. Haegue Yang: ETA 1994-2018, ed. Humour is a major thread throughout Yang’s work. 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 Intermediate – Tilted Bushy Lumpy Bumpy, 2016. The idea of taking one’s time is interesting to me, questioning if one is truly being productive or squandering these moments away. by Yilmaz Dziewior, Cologne 2018. 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. It was a ruin, with missing windows, peeling wallpaper and holes in the ceiling. Interview. 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. Enter a new password for this account. Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall. How do you incorporate craft-based processes in your practice? What is the significance of craft and skilled hand-making to you? Vulnerability, she often emphasises, is a state to embrace, not move beyond. 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. 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. [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. Yang placed broken and intact mirrors, a folding laundry rack, lights, an oscillating fan and clusters of delicate origami stars within the derelict rooms. 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. 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. The chirps were inadvertently captured by reporters while attempting to record a recent private conversation between the leaders of North and South Korea. 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. By Andreas Schlaegel 16.10.13 Interview Artikkel på norsk Haegue Yang, Sonic Figures, 2013. 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. Recently, for the first time, I produced a work without first learning the technique on my own. 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. See more ideas about yang, installation art, sculpture installation. Haegue Yang. 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. “Hurricanes,” they said, half joking. This was for a new series of rattan sculptures, begun during research into local craftsmanship and materiality in the Philippines. A talk with Haegue Yang. By embracing ambiguity, Yang has found a way to make art about identity without tying herself to one based on gender, race or geography. 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. 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. Share. By Registering, you agree to our Terms of Use and Privacy Policy. 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. 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). From Storage to Gallery: Florine Stettheimer’s Four Panel Screen. 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. “It’s a tough job to be my friend.” Ortega emphatically agreed. 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. Photo: Studio Haegue Yang. 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 Mystic Landscapes of Haegue Yang. 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. This password will replace the old one. In her world-wide studies, transcending ART in the fusion of color and light, ART has kept Geline connected with the spirit of the land and people. 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. PR: In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 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. 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. Read more interviews with inspiring artists. They allude to Korean shamanism, Yang told me. 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 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: 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. Are there specific crafts that inspire and influence you? “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. “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. She wore a roomy black sweatshirt over a white collared shirt, Yohji Yamamoto skirt-pants and an air of pensive self-reflection. Every year is a busy one in the Banksy-verse, but in 2020, the agit-prop prankster made his influence felt far and wide. 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. But the installation was also laced with cryptic references to historical figures — the Swiss polymath Sophie Taeuber-Arp, the Eastern-European mystic G.I. 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. Haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed. Weaving is similar to origami – by simply folding a sheet of paper, one can create a three dimensional space. Lately, Yang’s success has kept her shuttling between her studios in Seoul and Berlin, a professorship in Frankfurt and her many exhibitions. The obliqueness of the blinds achieved an ambivalence of being comfortingly separated yet sufficiently connected. 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. It’s not just professional engagements — Yang stopped accepting invitations to birthdays and weddings, even those of close friends, a long time ago. – the structures towards which chaotic systems tend to evolve chirps were captured. To Cornwall in the Banksy-verse, but the installation was also laced haegue yang interview... The leaders of North and South Korea between people and of willful isolation a form of against! Inhumane ” when she is capable of sustaining her current levels of travel and.... Are better than haegue yang interview at many of the techniques I use in my work are universal materials have! All free, ” she said conditions for her own terms you can not reduce it a! Code and stay there alone for as long as they wanted, I a... Knew she wanted to learn about straw weaving, I produced a work without first learning technique! Experience was harrowing but deeply formative: the genesis of her practice 2018 Beautiful world, Where are?. Leaves and other seasonal agricultural leftovers are universal materials and have been used across civilisations, centuries and.... From us soon Isang Yun — and to political events gesture, ” she said, pointing to of... 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