Haegue Yang


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Jahnstraße 5

Details
2017
Installation, 5-parts
Aluminum Venetian blinds, aluminum frame, powder coating, perforated aluminum plates, light bulbs, cable
Dimensions variable
Edition 5/5

left: Kitchen boiler 80 x 44 x 32, right: Kitchen radiator 91 x 51 x 12

Born in 1971 in Seoul, Korea
Lives and works in Berlin, Germany and Seoul, Korea


you can find a detailed CV on the website of Haegue Yang:
www.heikejung.de/cv.html

Haegue Yang. Grid Bloc – Four Folds
In collaboration with Jeong Hwa Min, 29,7x32, 96 pages, in form of a tear-off pad. Berlin 2016
Artists book by Haegue Yang in form of a tear-off pad. „Grid Bloc Four Folds“ is the third publication in the book series by Haegue Yang. The series started with „Grid Bloc“ in A4 format in 2000. It was followed by „Grid Bloc A3“, in collaboration with Jeong Hwa Min.

Haegue Yang. An Opaque Wind
English/Arabic, 17 x 25 cm, 144 pages, softcover
Essay by Eungie Joo, designed by Studio Manuel Raeder, Berlin 2016


Haegue Yang. Shooting the Elephant 象 Thinking the Elephant
Kat. (Engl./Korean.). Hrsg. v. Leeum, Samsung Museum of Art, Seoul & Studio Haegue Yang. Texte v. Nicolas Bourriaud, Sungwon Kim, Haegue Yang. Approx. 200 p., with full illustration of new series and exhibited works. Design by Jinyeol Jung. Seoul 2015

Dare to Count Phonemes and Graphemes.
Kat. (Engl.). Hrsg. v. Glasgow Sculpture Studios & Bergen Kunsthall. Texte v. Ute Meta Bauer, Kathy Noble; Haegue Yang interviewed by Kyla McDonald & Steinar Sekkingstad. 202 S., zahlr. Abb., 25x17,5, brosch. mit offener Fadenheftg.. Berlin 2013
(Der Kat. erscheint zu den 2 Haegue Yang Ausstellungen im Herbst/Winter 2013: “Journal of Bouba/kiki” im Glasgow Sculpture Studios & “Journal of Echomimetic Motions” in der Bergen Kunsthall.)

Honesty printed in Modesty.
Kat. (Engl.). Hrsg. v. STPI Singapore. Texte v. H.G Master, June Yap & Haegue Yang. 215 S., zahlr. Abb., verschied. Größen (26x20 max.), geschraubt. Singapore 2013
(Overview book about the printed works Yang did during her residence at Singapore Tylor Print Institute in 2013. She experments in printing with fruit and vegetables, spices and other kinds of food.)

Grid Bloc A3.
In collaboration with Jeong Hwa Min.
48 S., komplett gestaltet, A3, Klebebindung. 1.000 Exx.. Wiens Verlag Berlin 2013
(This book is an enlarged 2nd edition of Yangs long out of print Grid Bloc from 2000. It contains different grid line intervals in various colors and reflects compositions of her collage series Trustworthies which are made from inside security envelopes. With these new grids Yang inserts ‘unindustrialized’ norms into the market.)

Bathroom Contemplation. How to write 4 – Künstler, die schreiben | artists who write.
Publikationsreihe mit Künstlertexten. (Dt./Engl.).
24x17, 16 S., Klammerhftg oder brosch. Auflage je 330 numerierte Exemplare. Wiens Verlag, Berlin 2013

Spuren anonymer Schülerautoren.
Edition. 16 Offsetdrucke (s/w), 44x31,7, in Mappe, Blatt für Blatt signiert. Auflage 30 num. Exx., Berlin 2001
(Haegue Yang zu der Edition: "Dieses Projekt basiert auf gebrauchten Schulbüchern der Fächer Sozialkunde und allgemeine Technik aus den Jahrgangsstufen 7 bis 9, die ich auf einerReise in Korea gesammelt habe. Die Bücher wurden von den Schülern, denen sie gehört hatten, mit Lernmarkierungen in Form von Textunterstreichungen, -einkreisungen, -markierungen und -durchstreichungen, Anweisungen und Verbindungen versehen, d.h. mit eigenen Hervorhebungen, Gliederungen, Verknüpfungen und Wertungen. Ich entfernte die Originaltexte, so daß allein die auf ihnen basierenden eigenen Markierungen der Schüler übrigbleiben. Durch diese Isolierung der selbstgesetzten Lernhilfen soll ihnen eine Eigenständigkeit verliehen werden, um die Beschränkung der ursprünglich vorgegebenen Lernhilfe anschaulich zu machen.")

Luft und Wasser.
Kat. (Dt./Engl.). Hrsg. .v. Dresdner Bank, Frankfurt am Main. Text v. Isabel Podeschwa. Design: Wolfgang Breuer & Achim Reichert. 16 S., komplett gestaltet, mit original Offset-bedruckten und eingeklebten Stickern, 29,5x21, Klammerheftg.. Frankfurt/M. 2002 <<<

Industrie und Technik.
Kat. (Dt./Eng.). Text von Anja Casser “Die Möglichkeit steckt im Minimalen oder was sehen wir wirklich?” 48 S., 51 Abb., davon 19 in Farbe, 24,5x21,5, Ppdg.. Frankfurt 2002 <<<

The Pages.
Hrsg. v. Hess. Landesmuseum, Darmstadt. Gestalterische Mitarbeit v. Maureen Mooren & Daniel van der Velden. 252 S., komplett illustriert, 31x22, brosch.. Frankfurt 2004
(Künstlerbuch, das die Faxkommunikation auf die Faxkennungen reduziert.)

­Community of Absence.
Kat. (Engl.). Hrsg. v. BAK, Basis voor actuele kunst,
Utrecht. Texte v. Maria Hlavajova, Lars Bang Larsen, Binna Choi u.a.. 92 S., zahlr. farb. & s/w Abb., 29,5x21, Fadenheftg.. Frankfurt/Main 2007 <<<
(Gemeinsam mit dem Buchgestalter Manuel Raeder hat Haegue Yang ihrer jüngsten Katalog entworfen. Neben einführenden Texten bekommt man einen guten Überblick Yangs Arbeiten der letzten Jahre, wie z.B. ihre Film-Trilogie, Series of Vulnerable Arrangements & Blind Room.)

Community of Absence.
Limited Edition Posters. Hrsg. v. BAK, Basis voor actuele kunst, Utrecht. Aufl. 100 Exx.. 92 S., 6 Plakate (à 59x42), 29,5x21,
gefaltet & mit starker Pappe stabilisiert. Frankfurt/M. 2007
(Die Edition erscheint zusätzlich zum gleichnamigen Kat. & besteht aus 6 gefalteten Plakaten, die die Grundlage für denselben sind.)

Unpacking Storage Piece.
Kat. (Dt./Engl.). Interview mit Axel Haubrok und Haegue Yang, Text von Raimar Stange, Buchdesign: Manuel Raeder. 48 S., A 5, schräg gefaltet, Drahtheftg., 38 Abb., Aufl. 800 Exx.. Berlin 2007
(Der Sammler Axel Haubrok erwarb 2005 Haegue Yangs “Storage Piece”, eine Ansammlung bisher unverkaufter, teils verpackter Werke der Künstlerin, die Haegue Yang auf 4 Europaletten zusammengestellt hatte. Ein Thema des Objektes ist der alltägliche Umgang mit Kunst in Ateliers, Galerien und Sammlungen - es geht um Lagerung, Verkäuflichkeit von Kunst, um Kunst-Bseitz und die Folgen. Axel Haubrok hat eine der Möglichkeiten, wie das Konzept der Arbeit weitergetrieben werden kann, zusammen mit H. Yang umgesetzt - er läßt seinen Besitz auspacken und zeigt die darin enthaltenen Werke in der Ausstellung “Unpacking Storage Piece” (28.9.-11.11.07) in seinem Raum “haubrokshows” in Berlin. Die Publikation dokumentiert die Geschichte des “Storage Piece”.)

_Sa-dong 30.
Kat. (Koreanisch/Engl.). Texte von Hyunjin Kim, Gespräch zwischen Hyunjin Kim, Haegue Yang, Jang Un Kim. 48 S., 32 meist farb. Abb., 28x20, brosch.. Berlin / Seoul 2007 <<<
(Im Herbst 2006 entstand eine Installation von Haegue Yang in einem verfallenen Haus im Seouler Bezirk Incheon. Das Buch dokumentiert den Ort, - a place that the system has missed.)

Asymmetric Equality.
Kat. (Dt./Engl.). Anläßlich der Ausstellung in REDCAT, Los Angeles & Sala Rekalde, Bilbao. Texte von Clara Kim, Doryun Chong, Eungie Joo, Markus Steinweg. 216 S., ca. 250 teils farb. Abb., 25x20, brosch.. Los Angeles, Bilbao 2008
(Haegue Yang‘s practice stems from her interests in the subtle irregularities and minute possibilities that destabilize conventional order. Through deliberate acts of erasing, misplacing, or rearranging the ordinary, Yang‘s work directs attention to the underlying structures that regulate perception and experience. The artist explains: “I am truly interested in how one can be a political being…[and] attempt to be engaged without dogma.” Yang‘s quietly complex installations employ devices such as humidifiers, scent emitters, lights and customized blinds that provoke the sensorial as an integral part of looking and experiencing. The book is the first oeuvrecatalogue about the installations by Haegue Yang.)

Siblings and Twins.
Kat. Hrsg. v. Melanie Ohnemus, Portikus Frankfurt. Mit Texten v. Doryun Chong, Bart van der Heide & M. Ohnemus. 25x18, 160 S., zahlr. Abb., brosch.. Grafik: Manuel Raeder. Berlin 2010

Arrivals. Werkverzeichnis 1994-2011.
Kat. (Dt./Engl.). Hrsg. v. Kunsthaus Bregenz, Yilmaz Dziewior. Interview v. Yilmaz Dziewior mit Haegue Yang, Text v. Anders Kreuger & Marina Vishmidt. Werk-verzeichnis zusammengestellt v. Katharina Schwerendt. 352 S., 700 farb. Abb., 23,5x18,5, Ln.. Bregenz 2011
(Der Kat. erscheint als dritte in der vom Kunsthaus Bregenz herausgegebenen Reihe der Künstler-Werkverzeichnisse. Zusammen mit Abbildungen aller Werke & Aufnahmen aus der Ausstellung im Kunsthaus Bregenz enthält er ein sorgfältig zusammengestelltes Werkverzeichnis von Katharina Schwerendt.)

Kaleidoscope - a contemporary magazine.
Issue 10 / Spring 2011. (Mono mit Haegue Yang. (Engl.). Mit einem großen Spezialteil zu Haegue Yang mit einem Text v. Bart van der Heide, Joanna Fiduccia & einem Interview v. Yasmil Raymond mit Haegue Yang. Außerdem Texte v. Marina Vishmidt, Nav Haq, Binna Choi u.a.. 184 S., 28,5x22, brosch.. Mailand 2011

Integrity of the Insider / Paper Control.
Kat. (Engl.). Hrsg. v. Walker Art Center, Minneapolis (Pamela Johnson & Kathleen McLean). Kuratiert v. Doryun Chong und Andria Hikey.Text v. Andria Hickey, Marcus Steinweg, Sarah Peters u.a.. 20 S. und 1 Booklet (Din A3 mit einem Interview von Clara Kim mit Yang), Din A4, Klammerheftg., und gefaltet. Minneapolis 2011

Wild against Gravity.
Kat. (Engl.). Hrsg. v. Modern Art Oxford & Aspen Art Museum (Ryan Shafer & Emily Smith). Kataloggestaltung Manuel Raeder. Texte v. Heidi Zuckerman Jacobson, Anne M. Wagner, Julian Stallabrass, Katharina Schwerendt. Interview v. Emily Smith, H. Zuckerman Jacobson & Michael Stanley mit Haegue Yang. 192 S., zahlr. Abb., 23,5x19, Ppdg.. Aspen, Oxford 2011

Family of Equivocations.
Kat. (Engl./Frz.). Hrsg. v. L’Aubette & Musée d’Art moderne Strasbourg. Texte v. Patricia Falguières, Camille Giertler & ein Interview v. Estelle Pietrzyk mit Yang. 288 S., 200 Abb., 34x18,5, Ppdg.. Straßburg 2013
(Catalogue de l’exposition en deux volets organisée à Strasbourg dans les salles historiques de l’Aubette 1928 et au musée d’Art moderne et contemporain, l’ouvrage rassemble, outre les essais, une sélection de textes plus anciens et une version mise à jour du « dictionnaire » qu’elle établit depuis plusieurs années avec Doryun Chong.)

Accommodating the Epic Dispersion – On Non-Cathartic Volume of Dispersion.
Kat. (Dt./Engl.). Hrsg. v. Haus der Kunst, München & Julienne Lorz. Texte v. Okwui Enwezor, J. Lorz & ein Interview von T.J. Demos mit Haegue Yang. 96 S., 31 Abb., 24x17, brosch.. Köln 2013
(Der Kat. dokumentiert Yangs große Jalousien Arbeit im Haus der Kunst. Zudem spricht Yang in dem Interview präzise und weitreichend über ihre Arbeiten und ihre wesentlichen Themen, wie z.B. Exil, das Verweben von Biographien, Politik und ihre künstlerische Auseinandersetzung damit.)

Selected solo shows and projects

2017
Galerie Chantal Crousel, Paris, France
Haegue Yang: The VIP’s Union, Kunsthaus Graz, Graz, Austria
Haegue Yang
, Kesselhaus, KINDL – Zentrum für zeitgenössische Kunst, Berlin, Germany (September)
Sol Lewitt Upside Down - Cube Structures Based on Five Modules, Central One Expanded 184 Times, Another Expanded 66 Times then Doubled and Mirrored #81-E, Maison Hermès Dosan Park, Seoul, Korea
Solo presentation, mezzaterra11 – flat gallery, Belluno, Italy
Haegue Yang – ornamento y abstracción, kurimanzutto, Mexico City, Mexico

2016
Quasi-Pagan Seasonal Shift, Aïshti by the Sea, Antelias, Lebanon
Quasi-Pagan Modern, Galeries Lafayette, Paris, France
Lingering Nous, Centre Pompidou, Paris, France
12x12. Der IBB-Videoraum in der Berlinischen Galerie, Berlin, Germany
Haegue Yang:An Opaque Wind Park in Six Folds, Sonae | Serralves Commission 2016, Porto, Portugal
Quasi-Pagan Serial, Hamburger Kunsthalle, Hamburg, Germany
Quasi-Pagan Minimal, Greene Naftali, New York, USA

2015
The Malady of Death: Écrire et Lire by Haegue Yang (staged reading), Mobile M+: Live Art, Hong Kong
Haegue Yang: Come Shower or Shine, It Is Equally Blissful, UCCA Ullens Center for Contemporary Art, Beijing, China
Temporary Permanent, Galerie Wien Lukatsch, Berlin, Germany
Sample Book, dépendance, Brussels, Belgium
Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul, South Korea

2014
Art Wall: Haegue Yang, The Institute of Contemporary Art, Boston, USA

2013
Anachronistic Layers of Dispersion, Henry Art Gallery, Seattle, USA
Honesty Printed on Modesty, Singapore Tyler Print Institute, Singapore
Journal of Echomimetic Motion, Bergen Konsthall, Bergen, Norway
Journal of Bouba/kiki, Glasgow Sculpture Studios, Glasgow, Scotland
Corrugated Totems with Glitter Dance, Vitrines sur l’Art - Museums of Strasbourg, Galeries Lafayette, Strasbourg, France
Family of Equivocations, Aubette 1928 and Museum of Modern and Contemporary Art, Strasbourg, France
Ovals and Circles, Galerie Chantal Crousel, Paris, France
Art Wall: Haegue Yang, The Institute of Contemporary Art, Boston, USA

2012
Der Öffentlichkeit – von den Freunden Haus der Kunst, Haus der Kunst, Munich, Germany
Ajar, La Douane, Galerie Chantal Crousel, Paris, France
Roll Cosies, Kunsthalle Marcel Duchamp, Cully, Switzerland
The Tanks: Art in Action, Tate Modern, London, UK
Multi Faith Room, Greene Naftali, New York, USA
Haegue Yang, Rivane Neuenschwander, Overbeck-Gesellschaft, Lübeck, Germany

2011
Two Winters, Presentation with Kukje Gallery at the M Building, Miami, USA
Escaping Things and Words, Haegue Yang, Rivane Neuenschwander, Kunsthalle Lingen, Lingen, Germany
The Art and Technique of Folding the Land, Aspen Art Museum, Aspen, Colorado, USA
The Sea Wall: Haegue Yang with an inclusion by Felix Gonzalez-Torres, Arnolfini, Bristol, UK
Teacher of Dance, Modern Art Oxford, Oxford, UK
Arrivals, Kunsthaus Bregenz, Bregenz, Austria

2010
Voice and Wind, New Museum, New York, USA
Voice over Three, Artsonje Center, Seoul, Korea
Closures, Galerie Barbara Wien, Berlin, Germany

2009
Integrity of the Insider, Walker Art Center, Minneapolis, USA
Condensation, South Korean Pavilion, 53rd Venice Biennale, Venice

2008
Symmetric Inequality, Sala Rekalde, Bilbao, Spain
Asymmetric Equality, REDCAT, Los Angeles, USA
Siblings and Twins, Portikus, Frankfurt am Main, Germany
Hamburger Kunsthalle, Galerie der Gegenwart, Hamburg, Germany
Lethal Love, CUBITT, London, UK

2007
Unpacking Storage Piece, Haubrokshows, Berlin, Germany
Foxed in the Forest, Dépendance, Brussels, Belgium
Remote Room, Galerie Barbara Wien, Berlin, Germany
Seven Basel Lights, Art Statements with Galerie Barbara Wien, Basel, Switzerland

2006
Sadong 30, Incheon, South Korea
Unevenly, BAK, basis voor actuele kunst, Utrecht, Netherlands

2005
Cremer-Preis, LWL – Landesmuseum für Kunst und Kulturgeschichte, Münster, Germany

2004
Kasse, Shop, Kino und Weiteres, Hessisches Landesmuseum, Darmstadt, Germany
Unfolding, Dépendance, Brussels, Belgium
Alterity Display, Lawrence O‘Hana Gallery, London, UK
Unfolding Places, Galerie Barbara Wien, Berlin, Germany

2003
Unrealistic to Generalize, Public>, Paris, France

2002
Air and Water, Dresdner Bank, Frankfurt am Main, Germany

2001
Sonderfarben, Kommunale Galerie, Darmstadt, Germany

2000
Blaue Wiese – Farbige Sprache, Künstlerhaus Mousonturm, Frankfurt am Main, Germany
Bejahung und Verneinung, Kolster, Galerie für junge Kunst, Frankfurt am Main, Germany
Lacquer Paintings 2000, Galerie Barbara Wien, Berlin, Germany

1999
Hamburgefonstiv, 1822 Forum der Frankfurter Sparkasse, Frankfurt am Main, Germany

1995
rraum, Frankfurt am Main, Germany


Selected group shows and projects

2018
Beautiful world, where are you?, Liverpool Biennial 2018, UK (July)

2017
Beyond the Box. Sammlung Dohmen, Leopold-Hoesch-Museum, Düren, Germany
Field Guide, Remai Modern, Saskatoon, Saskatchewan, Canada
The vague Space. Sammlung Christian Kaspar Schwarm, Weserburg - Museum für Moderne Kunst, Bremen, Germany
WheredoIendandyoubegin - On Secularity, 9th Göteborg International Biennial for Contemporary Art, Göteborg, Sweden
Children‘s Games, ADN Collection, Bolzano, Italy
Artists against Aids 2017, Bundeskunsthalle, Bonn, Germany
Duett mit Künstlerin, Museum Morsbroich, Leverkusen, Germany
Medusa – Bijoux et tabous, Musée d‘Art Moderne de la Ville de Paris, France
MIDTOWN, organized by Maccarone, Salon 94 Design, and Salon 94, Lever House, New York, USA
Wherever the Wind Carries, Lundskonsthall, Lund, Sweden
Building As Ever. OCMA - California Pacifics Triennial, Orange County Museum of Arts, Newport Beach, California, USA
Lesson Ø, National Museum of Modern and Contemporary Art, Gwacheon, South Korea
Duddell‘s x Biennale of Sydney, Abstraction of the World, Duddell‘s, Hong Kong, China
Soil and Stones, Souls and Songs, Para Site, Hong Kong, China
Condo, dépendance at Maureen Paley, London, UK

2016
Beyond Space, Leeum, Samsung Museum of Art, Seoul, Korea
Heterotopias. Avant-gardes in Contemporary Art, Museum of Modern and Contemporary Art & Aubette 1928, Strasbourg, France
Looks Good on Paper, STPI, Singapore
AD Intérieurs 2016,The collector‘s world, Monnaie de Paris, France
Idiosyncrasy: Anchovies Dream of an Olive Mausoleum, Helga de Alvear Foundation, Cáceres, Spain
Das Loch, Künstlerhaus Bremen, Germany
Le Grand Balcon (The Grand Balcony), La Biennale de Montréal, Canada
The Malady of Death – Monodrama with Irene Azuela,Yucatan, Mexico (in collaboration with kurimanzutto)
Exquisite Corpse,TMR a|s HUB: Galerie Chantal Crousel, Los Angeles, USA
Public to Private: Photography in Korean Art since 1989, National Museum of Modern and Contemporary Art, Seoul, Korea
Presently, neugerriemschneider, Berlin, Germany
: door / by gerlach en koop, Bonnefantenmuseum Maastricht, Netherlands
Daily Formalism, Mabsociety, Shanghai, China
Yoko Ono: Lumière de l‘Aube,The Museum of Contemporary Art Lyon, Lyon, France
MashUp:The Birth of Modern Culture,Vancouver Art Gallery,Vancouver, Canada
kurimanzutto travels to Jessica Silverman Gallery: from here to there, Jessica Silverman Gallery, San Francisco, USA

2015
The Eighth Asia Pacific Triennial of Contemporary Art (APT8), Queensland Art Gallery, Brisbane, Australia
Office Space, Yerba Buena Center for the Arts, San Francisco, USA
Paradox of Place: Contemporary Korean Art, Seattle Asian Art Museum, Seattle, USA
Remember Lidice, Edition Block, Berlin, Germany
La vie moderne, 13th Biennale de Lyon, Lyon, France
After Babel, Moderna Museet, Stockholm, Sweden
As We Never Imagined. 50 Years of Art Making, Singapore Tyler Print Institute, Singapore
Future Light, Vienna Biennale 2015, Museum für angewandte Kunst (MAK), Vienna, Austria
Absolute Collection Guideline, Sifang Art Museum, Nanjing, China
Works on Paper, Greene Naftali Gallery, New York, USA
Storylines: Contemporary Art at the Guggenheim, Guggenheim Museum, New York, USA
Suppleness and Rigidity – The Art of the Fold, Kunstraum Alexander Bürkle, Freiburg, Germany
Feminisms, Nordsternturm Videoart Center, Gelsenkirchen, Germany
About Colour, Kunsthaus Wiesbaden, Wiesbaden, Germany
Fiber: Sculpture 1960-present, Des Moines Art Center, Iowa, USA
The past, the present, the possible, Sharjah Biennale 12 (SB12), Sharjah, United Arab Emirates
Scenes for a New Heritage: Contemporary Art from the Collection, MoMA, New York, USA
Fit for Purpose, Kunsthaus Glarus, Zurich, Switzerland
Fiber: Sculpture 1960-present, Wexner Center for the Arts, Ohio, USA

2014
Fiber: Sculpture 1960-present, ICA, Boston, USA
Double Life, Contemporary Arts Museum Houston, USA
Collage art – Weaving Stories Blending Images, Gyeonggi Museum of Modern Art, Ansan, Korea
Einknicken oder Kante zeigen? Die Kunst der Faltung, MKK Ingolstadt, Germany
Music Palace, the power of music seen by visual artists, Villa Empain, Brussels, Belgium
Follies, manifold: GABRIEL LESTER – HAEGUE YANG, Bonner Kunstverein, Bonn, Germany
The Great Acceleration, Taipei Biennial 2014, Taiwan
Ghosts, Spies, and Grandmothers, SeMA Biennale Mediacity Seoul 2014, Seoul, Korea
Light Night, Wallspace, New York, USA
Histories I – Works from the Serralves Collection, Fundação de Serralves, Porto, Portugal
The Part In The Story Where A Part Becomes A Part of Something Else, Witte de With Center for Contemporary Art, Rotterdam, The Netherlands
Don’t You Know Who I Am? Art After Identity Politics, Museum van Hedendaagse Kunst Antwerpen, Antwerpen, Belgium
Objectology - Design and Art, National Museum of Modern and Contemporary Art (MMCA), Seoul, Korea
KUB Sammlungsschaufenster. Neuerwerbungen von Ai Weiwei bis Zobernig, Kunsthaus Bregenz, Austria
Man in the Mirror, Vanhaerents Art Collection, Brussels, Belgium
Salon Distingué – Hausrat in guter Gesellschaft, Museum Langmatt Baden, Switzerland
The Hawker, Dépendance at Carlos/Ishikawa, London, UK

2013
Nachbilder, Galerie für Zeitgenössische Kunst, Leipzig, Germany
GDR GOES ON - Ljubljana, CasCo, Office for Art, Design and Theory, Utrecht, Netherlands
Coming to Terms, Jackman Humanities Institute, University of Toronto, Canada
La Tyrannie des Objets, La Galerie des Galeries, Paris, France
Utopie beginnt im Kleinen, Kleinplastik Triennial, Fellbach, Germany
15 for 150: 15 contemporary artists mark 150 years of the Tube, London Underground, London, England
Vielleicht sehe ich auch zu tief in die Dinge hinein, Overbeck-Gesellschaft, Lübeck, Germany
I KNOW YOU, Museum of Modern Art Ireland, Dublin, UK
Vom Eigensinn der Dinge, KAI10/Raum für Kunst. Arthena Foundation, Düsseldorf, Germany
Who is Alice?, Spazio Lightbox, Cannaregio 3831, Venice, Italy
Nur hier. Sammlung zeitgenössischer Kunst in der Bundesrepublik Deutschland. Eine Auswahl der Ankäufe von 2007 bis 2011, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany
Kuratorenreihe der Riemschneider-Stiftung an der Staatlichen Akademie der Bildenden Künste
New & NOW, Seoul Museum of Art, Seoul, Korea
How to write I, Galerie Wien Lukatsch, Berlin, Germany
The Grand Domestic Revolution GOES ON, Centre for Contemporary Art, Derry-Londonderry, UK
Karlsruhe Mit Marius Babias, Neuer Berliner Kunstverein, Staatliche Akademie der Bildenden Künste Karlsruhe, Karlsrube, Germany
The Order of Things: Cinematic Moments, CCA Wattis Institute for Contemporary Arts, San Francisco, USA
Confusion in the Vault, Museo Jumex, Mexico City, Mexico
You promised me, and you said a lie to me, Anna Schwartz Gallery, Sydney, Australia
Echo Release, Nassauischer Kunstverein Wiesbaden, Berlin, Germany
Unknown Forces – Gestures beyond Surfaces, Tophane-I Amire Culture and Arts Center, Istanbul, Turkey
Dog Days II, MOTInternational, London, England
The Collection, 2013 Carnegie International, Carnegie Museum of Art, Pittsburgh, USA

2012
360°: Die Rückkehr der Sammlung, Stiftung Kunstmuseum Stuttgart, Stuttgart, Germany
No Borders, Bristol Museum & Art Gallery, Bristol, UK
Dislocation, Daegu Art Museum, Daegu, South Korea
Lieber Aby Warburg. Was tun mit Bildern? Museum für Gegenwartskunst Siegen, Siegen, Germany
Dream Walking in the Magical reality, National Museum of Contemporary Art, Korea
West China Art Biennale, TianYe Art Museum,Yinchuan, China
Inside Out and from the Ground Up, Museum of Contemporary Art Cleveland (MOCA), Cleveland, USA
No Desaster, Sammlung Haubrok Bei Falkenberg, Hamburg, Germany
The Spiral and the Square. Exercises in Translatability, SKMU, Sørlandets Kunstmuseum, Kristiansand, Norway
Annual collection show, Leeum, Samsung Museum of Art, Seoul, Korea
15 Jahre Galerie der Gegenwart, Galerie der Gegenwart, Hamburger Kunsthalle, Hamburg, Germany
If there would be a face, this would be a cat, Dependence, Brussels, Belgium
Intérieur jour, La Douane, Galerie Chantal Crousel, Paris, France
Sense and Sustainability. Urdaibai Art 2012, Urdaibai Natural Reserve, Gernika, Bermeo, Spain
Troubling Space: The Summer Sessions, The Zabludowicz Collection, London, UK
Superbody, Galerie Chantal Crousel, Paris, France
Soundworks, Institute of Contemporary Arts, London, UK
dOCUMENTA (13), Kassel, Germany
Orchesterwechsel – 10 Jahre Sammlung Rheingold, Schloss Dyck, Jüchen, Germany
An Exhibition of a Study on Knowledge, Forum Stadtpark, Graz, Austria
The Touch of Life, Galerie Anita Beckers, Frankfurt am Main, Germany
Abstract Possible: The Stockholm Synergies, Tensta Konsthall, Stockholm, Sweden
How Physical, The Yebisu International Festival for Art & Alternative Visions 2012, Tokyo Metropolitan Museum of Photography, Tokyo, Japan
DLA Was / For You, Muzeum Sztuki, Lodz, Poland

2011
City within the City, Artsonje Center, Seoul, South Korea
The Grand Domestic Revolution - User‘s Manual
Casco Projects, Utrecht, Netherlands
Monument Valley (Jaegerspris revisited - a Hommage to Johannes Wiedewelt), UFO, Berlin, Germany
Berlin 2000-2011, Museum of Contemporary Art Tokyo, Tokyo, Japan
D’un autre Monde, Le Printemps de Septembre, Toulouse, France
Kunst und Philosophie, n.b.k. – Neuer Berliner Kunstverein, Berlin, Germany
The Spiral and the Square. Exercises on Translatability, Bonniers Konsthall, Stockholm, Sweden
Tell Me Tell Me: Australian and Korean Art 1976-2011, National Art School Gallery, Sydney, Australia
Folding: The Art of Simplicity, KCDF Gallery, Seoul, South Korea
Open Days, Le Consortium, Dijon, France
Nach Abschluss der Reise, Kunst-Werke, Berlin, Germany
Human Nature: Contemporary Art from the Collection, LACMA – Los Angeles County Museum of Art, Los Angeles, USA
Air Hole: Another Conceptualism from Asia, The National Museum of Art, Osaka, Japan

2010
Watchmen, Liars, Dreamers, Le Plateau, Frac Île-de-France, Paris, France
10000 Lives, 8th Gwangju Biennale, Gwangju, South Korea
Workers Leaving the Workplace, Muzeum Sztuki, Lodz, Poland
The Pursuer, Greene Naftali Gallery, New York, USA
The New Décor, Hayward Gallery, London, UK (traveled to: Garage CCC – Center for Contemporary Culture, Moscow, Russia)
Like Eskimo Space, 1857, Oslo, Norway
Squatting. erinnern, vergessen, besetzen, Temporäre Kunsthalle Berlin, Berlin, Germany
Open Light in Private Spaces, Biennale for International Light Art Ruhr.2010, Unna, Germany
After Architects, Kunsthalle Basel, Basel, Switzerland
Intro Motion Ditch, Art Sheffield, S1 Artspace, Sheffield, UK
Self as disappearance, Centre d‘Art Contemporain, La Synagogue de Delme, Delme, France
Oh! Masterpieces, Gyeonggi Museum of Modern Art, Ansan, South Korea

2009
Under Cover I, Galerie Barbara Wien, Berlin, Germany
From the Gathering, Helen Pitt Gallery, Vancouver, Canada
Horizontale Durchlässigkeiten, Alte Fabrik, Rapperswil, Switzerland
Monument to Transformation, City Gallery Prague, Prague, Czech Republic (traveled to: Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain)
Sequelism Part 3: Possible, Probable, or Preferable Futures, Arnolfini, Bristol, UK
Everything, then, passes between us, Kölnischer Kunstverein, Cologne, Germany
Your Bright Future: 12 Contemporary Artists from Korea, LACMA – Los Angeles County Museum of Art, Los Angeles, USA (traveled to: The Museum of Fine Arts, Houston, USA)
Making Worlds, 53rd International Art Exhibition, Venice Biennale, Venice, Italy
Pop Up!, Ludwig Forum für Internationale Kunst, Aachen, Germany
Assume Nothing: New Social Practice, Art Gallery of Greater Victoria, Victoria, Canada

2008
If we can’t get it together, The Power Plant, Toronto, Canada
27 november – 21 january, 2009, Dépendance, Brussels, Belgium
50 Moons of Saturn, 2nd Torino Triennale, Turin, Italy
Zeitblick. Ankäufe der Sammlung Zeitgenössische Kunst der Bundesrepublik Deutschland 1998-2008, Martin-Gropius-Bau, Berlin, Germany
Pontos de Vista, Galeria Mata, Inhotim, Brumadinho, MG, Brasil
Farewell to Post-Colonialism, The 3rd Guangzhou Triennial, Guangzhou, Guangdong, China
Eurasia. Geographic cross-overs in Art, MART – Museo di Arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, Italy
LESS, haubrokshows, Berlin, Germany
Life On Mars, 55th Carnegie International, Pittsburgh, USA
Open / Invited e v+ a 2008 – too early for vacation, e v+ a – exhibition of visual art, Limerick, Ireland
Der grosse Wurf – Faltungen in der Gegenwartskunst, Museum Haus Lange / Kaiser Wilhelm Museum, Krefeld, Germany
Von dem was dann noch bleibt, Nassauischer Kunstverein, Wiesbaden, Germany
Wessen Geschichte, Kunstverein Hamburg, Hamburg, Germany

2007
Anyang Public Art Project (APAP), Anyang, South Korea
Off Pages, The Bookmakers SQ.MT., Turin, Italy
If I can’t dance, I don’t want to be part of your Revolution, Edition II, Episode IV: Feminist Legacies and Potentials in Contemporary Art Practice, Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium
Tomorrow, Artsonje Center & Kumho Museum, Seoul, South Korea
Brave New Worlds, Walker Art Center, Minneapolis, USA (traveled to: Fundación/Colección Jumex, Mexico City, Mexico)
Something Mr. C can’t have, KIAF, Coex Hall, Seoul, South Korea
Micro Narratives, 48th October Salon, Belgrade, Serbia
Virtuoso Interpretor – Formalismus als Formalismuskritik, Cluster, Berlin, Germany
RE-DIS-PLAY – Nicht-Kunst-Sammlungen von Künstlern und Kuratoren, Heidelberger Kunstverein, Heidelberg, Germany
Flash Cube, Leeum, Samsung Museum of Art, Seoul, South Korea
Imagine Action, Lisson Gallery, London, UK
Made in Germany, Kestnergesellschaft, Hannover; Sprengel Museum, Hannover and Kunstverein Hannover, Hannover, Germany
PRAGUE BIENNALE 3, Prague, Czech Republic
Brennschluss, Galerie Andreas Huber, Vienna, Austria
Kunstpreis der Böttcherstrasse 2007, Kunsthalle Bremen, Bremen, Germany
Dependance at Galerie Neu, Galerie Neu, Berlin, Germany
Modelle für Morgen: Köln, European Kunsthalle, Cologne, Germany
Mandla Reuter, Haegue Yang, Flaca, London, UK
Break through to Grey Room, Casabarata, Kasbah Museum, Tangier, Morocco
STADTanSICHTen. Seoul: Räume, Menschen, ifa-Galerie Stuttgart, Germany (traveled to: ifa-Galerie Berlin, Institut für Auslandsbeziehungen, Berlin, Germany)

2006
Political Design, Design of Politics, Zero One Design Centre, Seoul, South Korea
Personal Affairs. Neue Formen der Intimität, Museum Morsbroich, Leverkusen, Germany
If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Edition II: Feminist Legacies and Potentials in Contemporary Practice, De Appel, Amsterdam, Netherlands
Como Viver Junto – How to Live Together, 27. Biennale São Paulo, São Paulo, Brazil
Pigment Piano Marble, Maipú, Buenos Aires, Argentina
Haubrokworks – Sounds of Silence, Galerie Gisela Capitain, Cologne, Germany

2005
Lichtkunst aus Kunstlicht, ZKM – Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany
Punkt und Linie, Fläche und Raum, Overbeck-Gesellschaft, Lübeck, Germany
Schnur im Nebel, Doppelzimmer, Gießen, Germany

2004
Steaming away from the Places, Sangmyung University Museum, Seoul, South Korea
D-Freezone. Site 2: Korean Express, in the frame of 5th Gwangju Biennale, Gwangju, South Korea
This is not a Love Letter, Marronnier Art Center (currently: Arko Art Center), Seoul, South Korea
Black Friday. Exercises in Hermetics, Galerie Kamm, Berlin, Germany
Liquidation totale, Dépendance, Brussels, Belgium
XS: An Invitational Exhibition, f a projects, London, UK
Documents, Seoul Metropolitan Museum of Arts (currently Seoul Museum of Art), Seoul, South Korea
Chasm, 3rd Busan Biennale, Busan, South Korea
Mix Max, Artsonje Center, Seoul, South Korea

2003
From Dust to Dusk – International Exhibition of Contemporary Art, Kunsthal Charlottenborg, Copenhagen, Denmark
Hermès Korea Missulsang, Artsonje Center, Seoul, South Korea
Make It New, Portikus in Kooperation mit Dresdner Kleinwort Wasserstein, Frankfurt am Main, Germany
Demirrorized Zone, De Appel, Amsterdam, Netherlands
Türme Babylons, Landesmuseum Mainz, Mainz, Germany

2002
Subtiles Élégances, La Galerie, Centre d’art contemporain, Noisy-le-Sec, France
The Fall, Galleri Christina Wilson, Copenhagen, Denmark
Kunst und Technik, Mannheimer Kunstverein, Mannheim, Germany
Cité des Ondes, Cienquième Manifestation Internationale Vidéo et Art Électronique, Champ Libre, Montreal, Canada
40 Jahre: Fluxus und die Folgen, Wiesbadener Kunstsommer, Wiesbaden, Germany
Manifesta 4, European Biennial of Contemporary Art, Frankfurt am Main, Germany
P_A_U_S_E, 4th Gwangju Biennale, Gwangju, South Korea
New Tendencies in Korean Art: Paradise Among Us, Marronnier Art Center (currently: Arko Art Center), Seoul, South Korea
Blink, Artsonje Center, Seoul, South Korea
Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken, Kunst-Werke, Berlin, Germany
Ssamzie Studio 3, Ssamzie Space, Seoul, South Korea

2001
1 Site – 2 Places, project room, Galerie der Stadt Sindelfingen, Sindelfingen, Germany
KunstPraxis, Siemens Arts Program, Munich, Germany
Invisible Touch, Artsonje Center, Seoul, South Korea
We’re not here to give you pleasure, rraum 02, Frankfurt am Main, Germany (traveled to: rraum 03, Protoacademy, Edinburgh, UK; G39, Cardiff, UK; Galerie Art & Essai, Rennes, France)
VIP’s Union, VIP Lounge, 6th Art Forum Berlin, Berlin, Germany
Tirana Biennale 1: Escape, Tirana, Albania
Zu Gast, Bellevue-Saal, Wiesbaden, Germany
Frankfurter Kreuz: Transformationen des Alltäglichen in der zeitgenössischen Kunst, Schirn Kunsthalle, Frankfurt am Main, Germany
Lunchtime of Necktie Force, The Posco Museum, Seoul, South Korea

2000
Art or Design, Seoul Arts Center, Seoul, South Korea
Café Helga & Galerie Goldankauf, Kunstraum München, Munich, Germany
Anno Zero, Cittadellarte – Fondazione Pistoletto, Biella, Italy

1998
Stuttgart, 17.7.1956 – Salem (Wis.)/USA, 3.3.1977, Portikus, Frankfurt am Main, Germany
Seoul in Media: Food, Clothing, Shelter, Seoul Museum of Art, Seoul, South Korea
Where I Am, Lisbon World Exposition, Galeria Municipal da Mitra, Lisbon, Portugal
I-20, with Caroline Krause, Galerie Konstantin Adamopoulos, Frankfurt am Main, Germany


Collection (selection)

Bristol‘s Museums, Galleries & Archives, Bristol, UK
BSI Art Collection, Switzerland
Carnegie Museum of Art, Pittsburgh, USA
Explum, Murcia, Spain
Galerie für Zeitgenössische Kunst, Leipzig, Germany
Kulturstiftung des Bundes, Halle an der Saale, Germany
Kunsthalle Hamburg, Germany
Leeum, Samsung Museum of Art, Seoul, Korea
Los Angeles County Museum of Art, Los Angeles, USA
Museum of Modern Art, New York, USA
Muzeum Sztuki, Lodz, Poland
Sammlung Haubrok, Berlin, Germany
Solomon R. Guggenheim Museum, New York, USA
The Museum of Fine Arts, Houston, Texas, USA
Walker Art Center, Minneapolis, Minnesota, USA
Westfälisches Landesmuseum, Münster, Germany
Zabludowicz Collection

Haegue Yang at art berlin 2017, Press release (EN)

Haegue Yang auf der art berlin 2017, Pressetext (DE)

Lanka Tattersall: Migration Patterns, in Monthly Art, September 2016

HG Masters: Haegue Yang: A Strange Kind of Optimism, in ArtAsiaPacific

Yasmil Raymond: Haegue Yang, in Domus

Jens Hinrichsen: Biennale Spezial Korea. Die Konzeptkünstlerin Haegue Yang liebt Jalousien - auf Englisch "Venetian Blinds", in Monopol, deutsch

Interview between Haegue Yang and Clara Kim

“Unevenly” Haegue Yang - BAK, Utrecht by Emily Pethick

Kabelgewirr als ‘Vulnerable Light‘ von Sandra Danicke, deutsch

Luft und Wasser von Isabel Podeschwa, deutsch

Air and Water by Isabel Podeschwa, english

Kann man Werke machen, die nicht "Kunst" sind? von Meike Behm, deutsch

Accommodating the Epic Dispersion, Haegue Yang im Gespräch mit T. J. Demos,
deutsch (pdf)

Accommodating the Epic Dispersion, Haegue Yang in Conversation with T. J. Demos
english (pdf)

Wir können es schaffen, Jimmie Durham & Haegue Yang & Mark Welzel, deutsch (pdf)

We can get there, Jimmie Durham & Haegue Yang & Mark Welzel, english (pdf)


HG Masters: Haegue Yang: A Strange Kind of Optimism

ArtAsiaPacific, No. 63, May-June 2009, pp. 108-113

Left-wing politics clash with pure abstraction in the Korean artist‘s dynamic, multi-sensory installations.

Three rooms, three constellations of choreographed sensory chaos.

A gyrating Spotlight of sharp white light flashes on, its beam circles the gallery, reflecting off a large mirrored panel hanging from the ceiling. Rapid washes of red, blue, then magenta light—originating from elsewhere in the space—momentarily drown out the spot. On another side of the wide room, a red halo of light pans across a hanging arrangement of white venetian blinds hung at oblique angles from the ceiling before shutting off as more bursts of color flood the room.

In a second area, lit by a piercingly bright light, meandering walls of suspended black venetian blinds converge to create a series of semiprivate enclosures. An incongruous array of artificial scents—fresh-cut grass, earth, coffee, garlic and burning spices—wafts in from atomizers located throughout the space.

Around the corner in an adjacent room, an infrared heater mounted to the ceiling creates a pocket of warm air. Nearby, a metal ceiling fan whirls on, circulating the balmy, perfumed air. Blinds with Strips painted an array of colors from turquoise to orange dangle next to hanging mirrors of the same size. A Standing microphone in the corner is available for visitors to use, introducing an added aural and interactive element. During Haegue Yang‘s solo show "Symmetrie Inequality," which ran from mid-December 2008 until mid-April 2009, the Bilbao nonprofit Sala Rekalde was devoid of objeets otherthanthe blinds, mirrors, fans, heating elements and wires strung up to the ceiling. But the entire space was animated by Haegue Yang‘s dizzying atmospheric abstraction, created by reflections and refractions of colored lights, fragrant smells and echoing sounds. Collectively titled Series of Vulnerable Arrangements -shadowless voiee over three (2008), the three-room installation is the latest installment of Yang‘s multi-year projeet "Series of Vulnerable Arrangements" (2006-08) that has now spanned four continents, multiple biennials, and numerous museum and gallery exhibitions.

What is the place of abstraction? For artists, it has been a fraught question ever since the post-Abstract Expressionist generation of painters—a formidable and diverse collection of individuals ranging from European conceptualists Yves Klein and Piero Manzoni to New York-based painters Jasper Johns, Robert Rauschenberg and Robert Ryman—pulled apart the abstract painting and isolated its components (the brushstroke, the flat canvas surface, the monochrome fields of color). In doing so, they destroyed the transcendent aspirations of painting, emphasizing the making of abstraction over abstraction itself.

This layingbare of technique, or literalizing of gestures, is what the Korean sculptor Haegue Yang has pursued in her "Series of Vulnerable Arrangements" by foregrounding the machinery of her installations— fans, mirrors, Spotlights, heating elements—alongside the sensory effects they produce. Born in 1971 in Seoul, Yang studied fine arts at Seoul National University and then at the Städelschule in Frankfurt am Main, Germany, where she worked with Georg Herold, a German painter and sculptor who makes abstractions in the most far-fetched manner, sometimes smearing caviar on canvas or suspendingbits of plywood in glass vitrines. Though Herold (born in 1947) and Yang are a generation apart, they work in the same miasma of post-abstractionism and post-conceptualism—an era of indeterminate ideology that has nurtured artists who probe both the social and formal underpinnings of art-making in the struggle to find some element of truth to call their own. As Yang explained in an interview with curator Binna Choi in 2006: "I want to react to how ‘neutral‘ the Spaces of exhibition are supposed to be... to play with the notion of conditional settings for Spaces for art and to address the viewer‘s physical senses."

One of Yang‘s earliest "Series of Vulnerable Arrangements" was shown at basis voor actuele kunst (BAK) in Utrecht, the Netherlands, in April 2006, as part of her solo exhibition, "Unevenly." Yang arranged devices representingthe five sensory elements in a room. She assigned a title to each of the timer-operated components and positioned them in different corners of the gallery. Relational Irrelevance is a Spotlight whose beam was directed onto a two-meter-tall floor lamp in a redundant light-shining-on-a-light arrangement. Suspended by wires in the middle of the room, the open pot-like Handful ofObscurity is an industrial humidifier that releases a continuous cloud of steam. Possible Synonym ofSquandering comprises two infrared heaters mounted on poles. Anonymous Movement is a Standing floor fan; Almost Exhausted ("Wood Fire") and Becoming Intro Time Machine ("Fresh Linen") are two machines that emit the artificial, titular scents, "Wood Fire" and "Fresh Linen."

The room was alternately dark, light (at times tinged with red from the infrared heaters), warm, humid and breezy. Here, three sets of black venetian blinds hung from the ceiling to delineate a space that housed a screen on which Yang projeeted two 18-minute videos. UnfoldingPlaces (2004), shot in London and Seoul, shows a stream of loosely connected images includingtunnels, Street scenes, the corners of rooms and origami animals strewn in street puddles with a first-person voice-over narrating what Yang calls her "pursuit of place"—aneedotes and ruminations from her travels from Frankfurt to Seoul, Copenhagen and Tokyo. The other, Restrained Courage (2004), is a similarly styled video filmed in European cities and Seoul—Yang has held artist residencies in northern Italy, Paris, London, Tokyo, Utrecht and Los Angeles and now splits her time between Berlin and Seoul—with a voice-over describing stories of her "chosen loneliness."

As the description above suggests, there is nothing succinet about Haegue Yang‘s art. Her videos, shot on multiple continents, come with lengthy voice-over narrations; her abstract installations are often connected to recondite historical episodes that require explanation in press releases. Despite her repetition of materials—venetian blinds, Single Strands of lightbulbs, mirrors, geometric origami objeets, Spotlights, fans, space heaters and scent emitters—Yang‘s "Series of Vulnerable Arrangements" has never been about a singular subjeet nor taken one particular form. The works in the series can roughly be divided into two categories: those made by draping assorted lightbulbs over tall, free-standing racks that vaguely resemble floor lamps—made primarily earlier in the series—and those comprised of hanging arrangements of venetian blinds, a later development. "Series of Vulnerable Arrangements" is not simply about altering the supposedly neutral exhibition space. Nor are her artworks about ineidents from international left-wing political movements—the Communist revolution in China, the French Resistance, the German Green Party—that Yang cites as inspirations for many of her works. In that same 2006 interview with Choi, she commented: "I remained uninvolved in any specific political movement or activity, even if most of my surroundings, including my family, were directly committed to the leftist progressive movement in Korea."

Yang wrestled with the joyful play of pure abstraction and the countervailing gravity of political narratives—without overtly embracing or promoting a particular stance—in a succession of 2008 exhibitions, which allowed her to create a contiguous suite of works within "Series of Vulnerable Arrangements." The first of these pieces, Mountains of Encounter (2008), was shown in a group exhibition at the Kunstverein in Hamburg, Germany, in January 2008, and is an arrangement of hanging red venetian blinds angled at the top to resemble rooftops or the peaks of a mountain ränge. A floodlight casts a circle of light on the floor and Spotlights mounted on the wall shine white light across the screens, creating layered shadows through the Cluster of blinds and evoking a rising or setting sun. The work‘s underlying narrative is the meeting of Kim San, a Korean freedom-fighter who fought alongside the communists in China against the Japanese oecupation (1910-45), and Nym Wales, the Pseudonym of Helen Foster Snow, an American Journalist who later wrote a book on Kim San. Although in an email to ArtAsiaPacific, Yang describes the moving lights as "a kind of touching hands," there are no overt references in the sculpture. The red blinds might allude to the Red Army, the two roving Spotlights to San and Wales‘ furtive encounters or those watching out for them, but the narrative is more a starting point for her abstraction than a key to its meaning.

Likewise in her show at London‘s Cubitt Gallery in February 2008, "Lethal Love," Yang offered only one clue to the subject of her abstract portraiture, this time of peace activist and German politician Petra Kelly, the founding member of Die Grünen, the German Green Party. In 1992, at age 44, Kelly was murdered in her sleep by her partner Gert Bastian, a former NATO general and fellow Green Party politician, who then killed himself. In Yang‘s rendering there are gun-metal aluminum venetian blinds, a white floodlight, a clear Spotlight and a large mirrored panel that filled Cubitt‘s small space. From behind the mirror, scent atomizers released the fragrance of wild flowers and gun powder—the most overt and sole allusion to Kelly‘s life and death.

But the series‘ relationship to narrative and portraiture remained tenuous. Yang‘s abstract tendency dominates in Three Kinds (2008), shown at the biennial Carnegie International at Carnegie Museum of Art in Pittsburgh in May 2008, as she abandoned the historical subtext for an ebullient, playful formalism. Yang had the blinds—which came in a broad array of colors from purple to yellow to pink—cut into hexagons and octagons and painted with large white triangles. Floodlights pointed at the floor faded on and off and wall-mounted Spotlights projected a corresponding pattern of triangles onto the blinds. On the wall were two circular mirrors at eye-level and what resembled a third mirror. In fact, it was a hole in the wall through which one could see a narrow space illuminated by a red light containing a wooden ladder, building materials and an exterior window, revealingthe installation‘s outer limits.

That same month at Portikus, an exhibition space in Frankfurt am Main, Yang veered back into historical material, premiering "Siblings and Twins," a two-part installation. Yang again represented the imagined meeting of Kim San and Nym Wales in China, this time in a larger arrangement of hanging red blinds and roving Spotlights entitled Red Broken Mountainous Labyrinth (2008). In the same space was 5, Rue Saint-Benoit (2008), eight arrangements of blinds and lights in gray, metal-framed forms whose dimensions approximate objects—a kitchen table, a water heater, a shower stall and a stove—in the apartment of French author and communist Marguerite Duras, whose address in Paris during World War II is the work‘s title. From this apartment, Duras and her husband Robert Antelme plotted for the Resistance. These pieces of historical trivia link the figures behind 5, Rue Saint-Benoit through leftist politics and the fight against foreign occupation to Kim San and Nym Wales, and Petra Kelly and Gert Bastian.

As the series progressed through 2008, Yang‘s vacillation between pure abstraction and narrative-inspired abstraction gave way in "Asymmetrie Equality" at the art space REDCAT in Los Angeles. The multi-room installation Yearning Melancholy Red (2008) featured arrangements of white and faux-wood venetian blinds, mirrors mounted on a central column, swiveling red and white Spotlights attached to the wall and three sets of infrared heaters and fans, which together create an exaggeratedly languorous atmosphere of warm air and red light. Though Yang linked the sultry conditions in the gallery to Marguerite Duras‘ upbringing in colonial French Indochina in the 1920s, Yearning Melancholy Red features a drum kit connected electronically to the installation‘s lighting that viewers could play, causing the lights in the next room to swirl around frantically. "Implying something inevitable, and yet more powerful than a considered composition," Yang explains, this unpredictable, human element distances Yearning Melancholy Red from an evocation of a specific place.

Similarly, at the Turin Triennale in November 2008, Yang showed Doubles and Couples (2008), steel-framed forms on wheels or mounted to the wall with multicolored blinds and tangled Strands of lightbulbs, which echoed the materials and forms of 5, Rue Saint-Benoit. But here Yang eschewed the historical referents, just as in Series of Vulnerable Arrangements - shadowless voiee over three Yang echoed Yearning Melancholy Red and Lethal Love but left behind any narrative associations for references to her own earlier pieces, an indication that her subject is increasingly her own vernacular of abstract gestures.

With her vast geographical, historical and formal lexicon, what then connects the projeets of Haegue Yang? Or, in her words: "What in the world makes me keep such a great distance from the many urgent political issues and events taking place around me?" She maintains "a kind of territory where my position could not be fully definable or eultivated, therefore instrumentalized by anyone eise. It is a ‘territory‘ where one can become a ‘poet-activist‘ who has the potential to act radically. This radical action doesn‘t immediately aecord with the commonly recognized coneept of demoeraey and it even appears often in the non-political realm. Yet, in this sense I am truly interested in how one could be a political being." Or, to put it another way, it is the alternating between formalism and political-historical subject matter that preserves her "chosen loneliness" from the ideology of either abstraction or political art.

One motif that connects Yang‘s projeets is folding, which she describes as, "magic—how a simple act such as folding can result in such complex three-dimensional space." Metaphorically, folding is both an act of concealing and revealing, building shapes and destroying them. Origami paper when it is folded reveals a new side; venetian blinds when unfolded subdivide a space while still permitting lines of sight and passage of light. Yang folds tangles of lightbulbs over a Standing armature to create a form out of something formless, and mirrors fold space by bending light into a new direction. This destruetive-regenerative cycle, similar to the produetive recycling Yang does with her own projeets, characterizes her open-ended, non-ideological and transnational artworks.

Her series "Non-Foldings" (2007), shown at Galerie Barbara Wien in April 2007, are works on paper hung from clips on the wall to the floor, with a crystalline pattern of silhouettes created by spray-painting and then removing an arrangement of complex geometric origami pieces. In some, the negative shapes are made with white spray paint on black paper, in others with black spray paint on white paper. As she inverts inversed forms and juxtaposes the struggles of leftist radicals with her own experiments with abstraction, Yang admits, "Now I am completely lost. I don‘t know what is the way of a good artist. I am still on my way." Even as she represents South Korea at the Venice Biennale in June and prepares for a September solo exhibition curated by Doryun Chong at the Walker Art Center in Minneapolis, Yang acknowledges that she is still searching for "where to live and how to live," an open-minded attitude that looks increasingly wise in a year when the world‘s assumptions are being undone, reconfigured and remade.


Yasmil Raymond: Haegue Yang

Domus, no. 922, February 2009, p. 124-28

The Blind room as an emblem of the Korean artist‘s vision, using her sense of poetic irony to create polysensorial Spaces.

In April 2004, Haegue Yang finished editing footage shot in Amsterdam, Berlin, Frankfurt, Incheon, London and Seoul. The resulting video essays Unfolding Places and Restrained Courage depict a sensorial investigation of these cities. Two years later, to complete the intended trilogy, she drew on the cityscape of Säo Paulo to compose an unsettling social allegory of displacement and wandering in Squandering Negative Spaces. "The picture of the city that we carry in our minds is always slightly out of date," wrote Jorge Luis Borges (in Unworthy, 1970). Indeed, everything in Yang‘s cities appears to be similarly in transit. Gathering her footage on a handheld camera, she moves briskly through hundreds of shots, passing through Spaces on foot or aboard trains, buses, cars or aeroplanes. Echoing the distinct haste of the traveller, her narratives are structured in the spirit of a moving collage, where contrasting opposites operate as guides. After a while, a streetlight morphs into moonlight, or the reflection of trees in puddles of water becomes another way of looking into the asylums of birds. These images are not place-bound; their distinctive locations are rendered unperceivable, and their notion of "authenticity" interchangeable.

This process of Observation and alteration is also present in the manner in which Yang constructs space. Concentrating on the most precarious of details, she has made the condition of ephemerality a central aesthetic principle of her practice. In the installation Series of Vulnerable Arrangements - Blind Room, 2006-2007 (in the exhibition "Brave New Worlds" at the Walker Art Center in Minneapolis), which serves as a viewing space for the video trilogy, she conceived an indoor pavilion that conceals as much as it reveals. Made from dozens of black Venetian blinds that have been rolled down to their füll length, these horizontal lines divide the space into four enclosures. Slightly titled at 60 degrees, the shades let less than half the light filter through. The blinds‘ overall layout follows a precise diagram that appears to take its shape from the creases left on a piece of paper previously used for origami, as mountain folds and Valley folds repeat throughout the space. Fronts and backs, positives and negatives are played against each other to form a moire of lights and shadows. Thresholds between each blind allow light to filter through vertically, while the open space below makes visible its interior: a quartet of chairs and stools, a table, electrical cables, and two freestanding lamps.

The doorway to Yang‘s Blind Room is marked by visual and sensorial effects: the cool breeze from an air conditioner above the entrance, and a warm blaze emanating from an infrared heating lamp on the side. In front of us, a large white disc projected on the wall attracts our attention: an enormous Spotlight has been set up, perhaps for those who desire to be watched or listened to, or maybe neither. In the adjacent room is a table with objects laid on it, surrounded by a pathway that allows us to take a closer look. An element of solitude permeates this area, as we understand before entering that the path is only wide enough for one person at the time. As a result, we must maintain a certain distance from both the person in front as well as the person behind. A bitter smell similar to burning tyres greets us as we enter the space, reminding us what revolting smells like. On the table, Yang has arranged a series of delicate light Strands, a number of colourful pieces of origami in the shape of stars, and placed photocopies of photographs on clipboards for us to observe. A humidifier below the table creates a cloud of steam that rises steadily through a hole, turning the table into a miniature stage set for a tale that we have to invent. As we leave the space we are offered one last scent, but this time we recognise the undeniably familiär smell of clean laundry. The objects in Yang‘s custody are never arbitrary or solely material Symbols. In her concept of social relations, light, heat, smell and sound are tangible forms coded with image value and charged with the nobility of having more than one function. One of Yang‘s recurrent objects, the light bulb, takes on a referential Status through its "behaviour" in shadowy Spaces, ranging from bold autonomy to shy reclusion. These objects of light vary in scale, colour and voltage, for she is not only seeking illumination but also the gesture of presence to be enacted in a given space. On the table in Blind Room she offers groupings of two, four and six lights in the form of constellations, but together they constitute a single white light that twitches energetically in complete anarchy, blinking for its own sake. Another reappearing object in Yang‘s lexicon is the Venetian blind. These blinds split and reconcile space by affirming and denying light. In Yang‘s cosmos they function as a Surrogate for perception, pointing to the subjectivity of seeing. As the artist has stated, "I‘m fascinated by the blind and its function of filtering light and creating a kind of half-transparent wall between two Spaces. It is that space between people that I‘m very interested in. You are not alone. You can see other people Walking through the half-shadow, half-light. You are sharing but not sharing" (in "Artist Haegue Yang at Redcat" by Lynne Heffley, Los Angeles Times, 16 July 2008). In Blind Room, lights and blinds mark moments of transition but also transactions, abstracting social relations between the "I" and the "You" into discreet coexistences, simultaneously suggesting proximities and distances, and playfully teasing us into being and not being. The third enclosure of Blind Room presents Yang‘s video trilogy showing on separate screens. Accompanying the moving images are individual voice-overs narrating anecdotes of odd encounters, meditations on the human "pursuit of place", as well as reflections on the artist‘s voluntary exile.

Yang‘s visual and textual contemplations of displacement examine the conflicting relationship between foreign land and homeland with a sense of protestation. "Even if most of my work is led by a voice of silence, it is engaging the ‘act of speech‘ with a potential addressee," says Yang. "It is a dialogue between ‘singularities‘, whose location is rather vague whereas his or her identity of ‘homeless‘ is definite, remembering Bataille‘s concept of the ‘community of absence‘. Even if the footage derives from various places, the work does not submit itself to any travel experiences. The voice-over is contemplating about being lost, constantly losing oneself, negating distinctive territories, lacking courage, while various minor informal urban scenarios as well as staged elements are unfolding" (from the exhibition catalogue of the 27a Bienal de Säo Paulo, 2006, curated by Lisette Lagnado and Adriano Pedrosa). But what does it mean to be "constantly losing oneself when we are talking about seeing? In what way might losing oneself imply losing sight, as an affirmation of a necessary blindness that returns us to seeing and perhaps finding? Tucked in behind the wall of the third room, a row of blinds extends beyond to form an exterior room of its own. Inside we find a round mirror hanging on the wall, hidden. Its diameter matches that of the Spotlight projected on the other side of the wall, at the entrance of the room. One must exit Blind Room to see this last calculated arrangement, implying that in order to see one must find. Here Yang‘s poetic irony arouses our curiosity one last time. Piercing through the blinds, one finds homeland, one sees oneself. The image of seeing, if one may call it that, is an image of finding oneself. "Fear can cause blindness, said the girl with the dark glasses," writes Jose Saramago (from Blindness, The Harvill Press, London 1997). "Never a truer word, that could not be truer, we were already blind the moment we turned blind, fear Struck us blind, fear will keep us blind, ‘Who is speaking?‘ asked the doctor, ‘A blind man,‘ replied a voice, ‘just a blind man, for that is all we have here.‘"


Jens Hinrichsen: Biennale Spezial Korea. Die Konzeptkünstlerin Haegue Yang liebt Jalousien - auf Englisch "Venetian Blinds"

Monopol, no. 6, June 2009, p. 56-57

Nomadin - das Wort mag sie nicht hören. Dabei stimmt es schon, dass Haegue Yang viel unterwegs ist. 1971 in Seoul geboren, studierte sie in den 90er-Jahren an der Frankfurter Städelschule und pendelt heute zwischen der südkoreanischen Hauptstadt und Berlin. Allein 2008 hatte Haegue Yang Einzelschauen in London. Hamburg, Frankfurt, Los Angeles und Bilbao. In diesem Jahr reist sie allerdings weniger herum, sondern konzentriert ihre Energien auf das Solo im koreanischen Pavillon - zusätzlich ist sie sogar noch in Daniel Birnbaums Arsenale-Schau zu sehen.

„Vergessen Sie das Nomadentum", sagt Haegue Yang und lenkt das Gespräch auf die geistige Beweglichkeit, die ihre Kunst charakterisiert. „Mich interessiert der Prozess des Lernens und Ver-lernens. Immer wieder radiert man Erfahrungen weg, an deren Stelle Neues tritt." Auch ihr Werk ist immer ein Fluss - konstant bleibt nur eine gewisse Vorliebe für Alltagsdinge. Objekte wie Mobiliar, Filofax-Einlagen, Millimeterpapier, Glühbirnen oder Ventilatoren löst die Künstlerin aus ihrem funktionalen Zusammenhang. „Sehr körperlich", so kündigt Haegue Yang ihren Beitrag für die „Making Worlds"-Ausstellung im Arsenale an, würden ihre Kleiderständerskulpturen wirken. Ein ultralanges Kabel versorgt die mit Glühbirnen, Verpackungen und Strickutensilien behängte Gruppe gemeinschaftlich mit Strom - Synergien.

Haegue Yang hat ein Talent dafür, mittels lebloser Gegenstände von menschlichen Grunderfahrungen wie sozialer Zusammengehörigkeit, Sprachbarrieren oder dem Wechselspiel von Intimität und Öffentlichkeit zu erzählen. Das wird auch die dreiteilige Präsentation im koreanischen Pavillon prägen. Sie wird, wie schon oft, Metall Jalousien nutzen (wie passend der englische Begriff „Venetian Blinds"), die Raumzonen gliedern und zugleich für Transparenz sorgen. Sechs Ventilatoren setzen das Environment „Voice and Wind" in sanfte Bewegung, ein stimmloser Atem, vielleicht aber doch ein „Sprechen", in dem mehr mitschwingt als in tausend Worten.

Die Arbeit „Sallim" (koreanisch Haushaltsführung) besteht in einem auf ein abstraktes Gerüst reduzierten, originalgroßen Nachbau von Haegue Yangs Berliner Küche. Abstraktion ist für sie gleichbedeutend mit der Fokussierung auf Potenziale - von Gegenständen, Orten, Räumen. Die Küche, ein paradoxer Ort: „Flucht vor der Arbeit und Intensivierung der Arbeit zugleich", sagt Haegue Yang. In einer Videoarbeit verschränkt die Künstlerin zwei verschiedene Orte: das Gelände neben dem koreanischen Pavillon und ihr Wohnviertel in Seoul. Ihren Nachbarn in dem heruntergekommenen Bezirk, darunter viele Schamanen und Prostituierte, fühlt sie sich auf eine seltsame Art verbunden. „Man sagt nicht einmal Hallo. Trotzdem fühle ich mich akzeptiert in der Nachbarschaft." Kann man direkt miteinander kommunizieren, ohne sich zu begegnen? Die Künstlerin glaubt fest daran. Ihr Credo - und ihr geradezu blindes Vertrauen in die Empfangsbereitschaft des Kunstpublikums - manifestiert sich im äußerst treffenden Gesamttitel „Kondensation". Kondensation ist Austausch über Barrieren hinweg. Eine verschlossene Flasche mit gekühltem Inhalt, an der sich außen Wassertropfen bilden, war einmal Teil einer Installation von Haegue Yang. Bei aller Leichtigkeit fordern ihre Räume und Skulpturen Aufmerksamkeit - schließlich ist Kondensation ja auch das Gegenteil von Verdampfung.


Interview between Haegue Yang and Clara Kim

in the summer of 2008 during the preparations for Yang’s solo exhibition Asymmetric Equality at REDCAT, Los Angeles

Since 2006, Haegue Yang’s installations have taken the form of temporary and ephemeral fields of sensory experiences in which individual associations and connotations unfold limitlessly. In Series of Vulnerable Arrangements (a series of different but related installations created for specific sites and contexts–Version Utrecht, Blind Room, Blind Table, Version Cologne, Seven Basel Lights), Yang employs various sensory devices including Venetian blinds, lights, industrial fans, infrared heaters, humidifiers and scent emitters to create an atmosphere in which qualities of luminosity, heat, wind and smell shift as the human body comes into contact. These sentient landscapes describe a kind of alternate consciousness in which memory, sentiment, intellect, and political ideology are inextricably linked to the social body, however collective or personal. Vulnerability allows for an exploration of unheroic acts, irrational behavior, emotional release-- the states of mind between contemplation and action.

In more recent work beginning with Mountains of Encounter at Kunstverein Hamburg (2008), Lethal Love for Cubitt in London (2008), Siblings and Twins for Portikus in Frankfurt, Asymmetric Equality for REDCAT in Los Angeles and Symmetric Inequality for Sala Rekalde in Bilbao (2008-9), Yang’s abstract, sensorial vocabulary becomes more pronounced as Venetian blinds take a more structural, though asymmetrical, presence and forces of energy play off in unproductive, inefficient pairings. These related installations operate as abstract portraits, narratives so to speak, about the relationships between certain literary and political characters: the French novelist and filmmaker Marguerite Duras, whose work explored the ambiguous conditions of colonialism in French Indochina and her husband and fellow Résistence fighter Robert Antelme; the encounter between the underground communist revolutionary Kim San who fought against the Japanese occupation of Korea and the American journalist Nym Wales who met Kim secretly under life-threatening circumstances that led to her writing of his biography Song of Ariran (1941); and the life and death of German activist and founder of the German Green Party (Die Grünen) Petra Kelly and Gert Bastien, the former NATO general who became Kelly’s lover and is believed to have shot and killed Kelly in a murder-suicide.

Whether within the backdrop of a tropical landscape of colonial Indochina or the clandestine meetings in the mountainous terrain of Yan’an during its height as the center of Chinese communist revolution, these relationships to Yang represent the precarious conditions in which communities are formed, conditions in which political freedom comes with great personal risk and where passion drives subjectivity, fate and history. Yang’s work is an exploration of community (that of lovers, political dissidents, revolutionaries, individuals) that contemplates the possibility of arriving at subjectivity through absence, exile or destruction rather than through traditional notions of cultural identity or geographic boundaries. Her work unfolds slowly attempting to describe a notion of equality or justice through physical and sensorial displacement. Space is not fixed, rather it morphs, changes and shifts. It is porous and contaminated. Light, which figures prominently in her installations, becomes a beckoning call, that illuminates, dims, detracts and destabilizes until its effect settles deeply and unforgettable under your skin like cigar smoke lingering in the middle of a darkened room.

The interview that follows took place during the preparations for Yang’s solo exhibition Asymmetric Equality at REDCAT in the summer of 2008. Though the interview cites the REDCAT project specifically, Yang’s responses speak more broadly to a body of related work during an active two-year period (2008-9).

The text provides an insightful context about the artist’s thinking during this time and gives us a rare glimpse into the motivations of her practice through her own words.

Clara Kim: Can you talk about the development of the work you have created for REDCAT and your interest in abstraction?

Haegue Yang: I had works in mind, which came to the world one by one, during a period of time I gave to myself to experiment and experience. While I was in the midst of it, the artistic desire to be more frank with myself in my own work brought me to a certain consciousness about abstraction. I still do not have enough distance to really speak about this desire, and maybe I will never be able to, or I will not even think about it again. Abstraction is the language I choose to give true value to the presence of narrative inside of
me as well as the narratives I have encountered and realized as “relatives,” which exist outside of me. For me, they appear pre-conditionary, as if they’ve always existed around us. These narratives are not unfamiliar to me or to others. I think what fundamentally lies beneath these narratives can be shared without being told as a story. For me, abstraction is not anti-narrative, it is not a language that attempts to negate narration but rather allows a narrative to be achieved without constituting its own limits. The form of language I choose to experiment with is abstract even if the motivation is always concrete.

CK: To this end, you often employ sensory devices in your work. In Asymmetric Equality, you use light, infrared heaters, fans and sound in order to create an environment that demands sensorial engagement. Can you talk about your interest in the sensorial as an almost proto- or post-linguistic form as it relates to narrative and subjectivity?

HY: Light, movement and sound are the dynamics of space, which illuminate abstraction and silences a conventional narrative that is capable of illustrating only one image. Recently, I have been using moving lights as they take over diverse functions. Like touching hands, light moves slowly across the space, gently touching different surfaces. I see it as relative to air, transparent but present. Light also serves as a functioning device that creates shadow. The shower of moving lights in constant motion gives different length and focus to the shadows and demonstrates the idea of an engagement of the observer through their own individual perspective. Light is an autonomous form, because it has no physical boundaries. In the installation, there is a mixture of various types of lights—the moving shower of lights from high-tech theatrical instruments and the red glow from stationary infrared heaters. Both are light sources, yet create different effects and feelings. In the installation, each of the infrared heaters is accompanied by a fan—pairing two opposing forces across from each other. There is a dialogue between the paired devices—a kind of yearning for each other, an intensive negation of heat and wind facing paradoxical disaster. They act as if they would at best destroy one another, which to me, demonstrates a principle of love and revolution. Their existence is derived from this possible destruction, squandering enormous energy of emotion. I see this as a subversive act, because it’s desperate and fundamentally inefficient.

CK: Another recurring element in your recent work is the use of customized Venetian blinds. In your installation, the blinds do not necessarily demarcate an outside and inside or an exterior and interior as much as they create a shifting landscape where transparency, opacity and positionality are in constant flux. Can you talk about your use of these domestically specific objects and the geometric configurations which you subject them to in your installations?

HY: I normally use blinds to create boundaries, which give me the comfort of breathing inside, but looking half hidden outside. When I look out into a space from the inside, I feel a deep sense of nostalgia and a desire to get to the other side, while cowardly breathing the air within. The half transparency is visual. With Asymmetric Equality, I didn’t draw boundaries, instead I created an open structure with branch-like arms. I wanted them to be, as in Heidegger’s notion of existence or dasein, timid but finally with facial expression.

The blinds grow out of a series of mirrors anchored to the column, creating branch like forms from its “trunk.” The varying elevations and angles of the blinds create a kind of landscape. On the one hand, the configuration of the blinds is geometrical, yet it contains organic growth. Each unit has a crystalline-like flowery structure made up of three, four, five or six arms, implying infinite development. To me, they are like characters that address micro-communities, connected to each other, yet containing their own complexity and completeness. I am very excited about combining two different colors in the blinds—shiny white and faux wood. I sometimes feel awkward describing structures like this, even if this is actually how I engage with abstraction as bearing certain imagery of thoughts—in this case, around a micro-community. The projects I have worked on this year dealt with narratives driven by certain historical, political and literary figures from various times and places, including the underground Korean revolutionary Kim San, the German politician and activist Petra Kelly, and the French novelist and filmmaker Marguerite Duras. With this work for REDCAT, I am, in a way, returning to my own narrative.

CK: Asymmetric Equality continues your thinking about Marguerite Duras and your interest in ideas about community and home. You mentioned that with this installation you want to create an atmosphere of “tropical melancholy,” which to me conveys a kind of displacement that is palpable sensorially while demanding a cognitive suspension—a temporary submission to external forces that disengage thought for feeling, mind for body, place for non-place. Can you talk about this “atmosphere” as it relates to Duras and your own personal experience of growing up and living in two different countries, cultures, contexts?

HY: The atmosphere I would like to describe is one of my childhood growing up in Seoul in the 70s and 80s when Korea was still regarded as socially, politically and economically underdeveloped and therefore was full of construction. I only vaguely remember how often huge trucks ran through unpaved roads without a division between cars and pedestrians and all of us were in dust and dirt, yet this didn’t stop eager children from running after them in the streets and releasing their energy. I remember loud sounds and large dust showers surrounding me all the time and the dull yet massive sounds of heavy industrialization all over. There was not a single moment without the smell of fear—the fear of a severely repressive military regime mixed with a sweetly traditional environment, an old-fashioned life style, which remains highly nostalgic and innocent in my mind. I was born into this kind of “colonial” environment, which I think characterizes my pathetic stubbornness and a struggle not to be modern, flexible or convenient in the world. I acknowledge the comfort of these memories as something primitive, a feeling we create unconsciously for sustenance in circumstances of difficulty or suppression, that is therefore different from convenience, which is a product of an efficient, industrialized society. When I’m absorbed in a “colonial” structure, I see many empowering moments, because it is weak, meek and deceiving by nature. The structure provides the belief of growth and change, but what we get from living in the face of it is a fundamental subversiveness. This fascination with the experience of living with comfort and discomfort, living in an environment with dust, pollution, political suppression, violence and exhaustion, left me with no words. For me, the noise from the past is wrapped with the silence of the present.

CK: The continuum of history is often espoused as a linear trajectory that describe a series of events, a set of characters, with causal relations that play out in the theater of grand narratives. As cultural producers, we work in the realm of senses or sensory, in which individual experiences are as much remembered and felt as they are recorded and factualized. I find this very interesting in your work, that in your referencing of “historical” characters such as Duras, you are collapsing the time-space continuum, making Duras present now and allowing our senses to dictate experience (rather than positions of power, privilege, knowledge) which seems radically democratic to me.

HY: I have recently begun to explore parallels between my life and those of other social and political figures. For example, I’ve been thinking about like experiences with Marguerite Duras—especially her eventual move from Indochina to Paris—in search of a home that made her homeless as a result of a metaphorical experience of learning and unlearning in a colonial structure. In 1932, she moved to Paris from Indochina (then under French rule), where she was born and raised but would never return. At that time, she didn’t know her “home country” (France) and the place where she actually grew up was never objectively regarded as her “home,” because she was of French descent. In her old home, politics was only a governing language, but in her new home, language was political. Early on, I believe she felt the need to completely erase her knowledge and memory of Indochina in order to make France her new home. During this period, she engaged in dubious political affiliations with the ministry that oversaw affairs in the French colonies as well as with the Nazi puppet government in Vichy. Despite her initial participation in these controversial histories, she later found her own artistic and political language, which I understand to be a process of unlearning the rules of outside power structures. I would describe this process as a kind of homecoming and would dare to insist that, in time, she somehow kept her old “home,” in a way that sympathetically recognized Indochina as something more than a geographic location but certainly had much to do with the time and events connected with it. In novels such as The Sea Wall (1950) as well as Hiroshima mon amour (1959), I feel like her writing attempts to revisit her home only to discover her homelessness—a truth that eventually led to her silence in literature and in death. The place I am addressing in Asymmetric Equality is not an imaginary place. It’s a place where things exist and do not need to be proved as real in order to gain its dignity.


“Unevenly” Haegue Yang - BAK, Utrecht
Emily Pethick

September issue 2006 Frieze, London

In Unavowable Community (1983) Maurice Blanchot finds ‘community’ in the distance between human beings that can only be captured in a dissymmetrical experience of the other, which allows for ‘unknown spaces for freedom’ to exist in the moment of coming apart. The value of community lies in difference rather than commonality. Haegue Yang reflects upon this notion in her recent exhibition ‘Unevenly’ at BAK, Utrecht, in her search for ‘a community of those who do not have a community’ – something she imagines might be characterized by ‘heterogeneity, ongoing self-examination and a recognition of its own vulnerable and transitory nature.’

For Series of Vulnerable Arrangements (2006) Yang gathered an incongruous group of large modified electrical devices in BAK’s main exhibition space. Ranging from electric heaters to fog machines and scent dispensers, these carefully placed machines clicked on and off at intervals, triggered by the movements of visitors, releasing intermittent bouts of glowing warmth and faint wafts of vapour and breeze. Redundant in their functions, and with no particular relation to one another, the objects stand as an oddly animated group, connected by a sprawling system of wires and a shared power source, giving visitors common sensory experiences that link the collective back to the individual through the differing personal associations brought to each encounter.

The displacement of everyday objects is a regular feature of Yang’s work, as is her reflection on the conditions within which they have been brought together. In 2004 Yang was faced with the return of a number of her works from different locations around the world, and the fact that she had nowhere to store them. At the same time, she was offered a space to exhibit, so she resolved the situation by shipping all of the works to the gallery and stacking them, unpacked, on a palette to form a new work. Storage Piece (2004) suspended these works in limbo between arrival and departure as a wry reflection of her own personal circumstances.

Yang’s video works offer a more intimate take on the life of an artist for whom mobility is a necessary condition. Installed behind screens at BAK, Unfolding Places (2004) and Restrained Courage (2004) form the first two parts of a trilogy of video works that mixes documentary footage with introspective scripted narratives, recited as monologues by anonymous voices that might stand in for Yang herself. Fluidly shifting between everyday scenes in public spaces in cities such as Seoul, Frankfurt, Amsterdam and London, a parallel narrative unfolds in which the subject recounts isolated incidents that reveal her disjointed relation to her environment. A sense of distance and alienation marks each of these encounters, where instances of people getting lost, or publicly abused are met with her own silence. Recounted over seemingly unrelated footage – such as the movements of strangers on the streets, views from moving windows, at points interjected with flickering lights and brightly coloured origami sculptures floating in puddles – the slippages between the subjective and objective, public and private are reinforced in the separate lines of voice and image.

In the final part of the trilogy, Squandering Negative Spaces (2006), Yang travelled to Brazil, an unknown yet decisively chosen place, in search of ‘a community of absence’. This time the artist intended her position of ‘otherness’ in order to investigate the process of approaching a foreign culture from the outside. Yang’s camera follows a succession of unremarkable in-between spaces, non-places, puddles and stray objects, finding the subjective within the cracks and moments of disjuncture in the urban framework, bringing to mind Blanchot’s notion of a community that finds freedom in moments of rupture. Her accompanying thoughts again stray from the trodden path and resist assimilation, every now and again diverting back to Korea, finding a tension between the immediacy of the unknown and the overly familiar that lies in the back of the mind.

Far from the cracks and urban detritus of Brazil, in the adjacent space, a very different model of community is portrayed in Dehors (2006), a series of slides reproducing full-page Korean newspaper advertisements of drawings of future apartment complexes. Photographed against the light, other articles of the newspaper show through the image from the reverse side. These partially obscured gleaming sci-fi towers of the blocks of flats reveal a constructed idea of community that is similarly imagined, but at the same time entirely absent from the minds of developers, begging the question as to whether a social structure can be arrived at from the top down.

While the perpetual mobility and lack of belonging in Yang’s works create detached melancholic narratives, the non-arrival seems to also produce a thought process that prevents things from becoming bound. Objects are not kept in fixed positions, but are removed from their contexts and realigned in different relationships. It is this sense of disjointedness, in which things do not appear natural or ordered, that gives an openness to Yang’s work, allowing for connections and relations to arise – as she states herself, ‘unevenly’ – creating the space for a dissymmetrical notion of community to emerge in the negative spaces between people and things, and a singular, yet connected being.


Kabelgewirr als ‘Vulnerable Light‘
Sandra Danicke

Frankfurter Rundschau Online. Kunstraum Doppelzimmer 2005

Peter Lütje und Haegue Yang: »Schnur im Nebel«

Ein Ausstellungstitel wie ein Gedicht: "Schnur im Nebel", das klingt so anspielungsreich wie diffus. Und beides trifft zu auf die Arbeiten, die Peter Lütje und Haegue Yang in ihrer ersten Gemeinschaftsausstellung im Gießener Kunstraum Doppelzimmer zeigen. Schließlich sind die beiden normalerweise kein Künstlerpaar, sondern arbeiten autonom. Darüber hinaus sind sämtliche Exponate Referenzwerke, Hommagen an die Arbeit anderer Künstler. "Schnur im Nebel (Introtourismus)" ist etwa die Skulptur betitelt, mit der Lütje und Yang der Filmkünstlerin Dominique Gonzales-Foerster huldigen. "Extourisme" heißt das Werk, mit dem die Französin imaginäre Landschaften in einem fremden Universum heraufbeschwört. Die darauf anspielende Arbeit von Lütje und Yang besteht aus neun Einwegkameras, die in einer geometrisierten Papplandschaft herumliegen. Die Fotos, geschossen auf einer eigens unternommenen Ostsee-Reise, wurden nicht entwickelt. Es sind erinnerte Landschaften in den Köpfen der Künstler, imaginierte Landschaften in den Köpfen der Betrachter und damit so undeutlich und schwer definierbar wie eine "Schnur im Nebel". Ähnlich abstrakt wirkt das Kabelgewirr, das die beiden in Frankfurt lebenden Künstler, die an der Städelschule studiert haben, unter der Zimmerdecke verlegt haben. Es sind Glühbirnen an den Enden dieser Kabel, die scheinbar improvisiert und instabil kreuz und quer durcheinander hängen.. "Vulnerable Light", also verletzliches Licht, lautet der seltsame Titel, und man mag sich fragen, ob man dem Licht wirklich wehtun kann. Die Installation bezieht sich auf Bas Jan Ader, einen Künstler, der das Fallen und Scheitern zu seinem Thema gemacht hat. Der gebürtige Holländer ging in den siebziger Jahren verloren, als er versuchte, den Atlantik in einem winzigen Ein-Mann-Segelboot zu überqueren. Das Boot tauchte später vor der Küste Irlands auf, doch sein Leichnam wurde niemals gefunden.


Luft und Wasser
Isabel Podeschwa

Luft und Wasser, Katalog Dresdner Bank, Frankfurt 2002

"Spuren anonymer Schülerautoren" heißt eine Arbeit von Haegue Yang. Ihr liegen Seiten aus koreanischen Schulbüchern zugrunde. Zu sehen sind Unterstreichungen und andere Markierungen, die Schüler bei der Lektüre vornahmen. Der Ausgangstext wurde von Haegue Yang entfernt, nur das Hinzugefügte bleibt sichtbar. An den Markierungen scheint der Umgang der Schüler mit der angebotenen Didaktik ablesbar zu sein: Die einen führen den Bleistift monoton entlang der Zeilen, die Lerninhalte werden offensichtlich in der vorgegebenen Struktur akzeptiert; bei anderen zeigt sich der Anspruch, stärker mit dem Text in Dialog zu treten: Verbindungslinien, und Kommentare bringen eigene Systematisierungen und Wertungen der Schüler ins Spiel.

Haegue Yangs Interesse gilt dem Vorgang, wie sich Sinneinheiten für den Einzelnen erschließen und wie sie sich in sein individuelles Wissensgefüge einordnen. Jede Aussage wird von den Empfängern entsprechend ihrer kulturellen und biografischen Prägungen unterschiedlich aufgefasst und löst jeweils andere Verknüpfungen aus. Nicht nur das modellhafte Gelingen von Kommunikation interessiert Haegue Yang dabei, sondern auch weiterführende Assoziationen, Irrtümer und Missverständnisse. Das Experimentieren mit "Verständnis" ist in der vorliegenden Publikation Teil des Konzepts. Haegue Yang stellte den Grafikern, die mit ihrer Arbeitsweise vertraut sind, koreanische Schulbücher aus verschiedenen Fächern und Jahrgangsstufen zur Verfügung und bat sie, Auffälligkeiten, die sie jenseits eines sprachlichen Verständnisses feststellen würden, herauszuheben und mit eigenen grafischen Interventionen zu kommentieren. Entstanden ist eine Zusammenstellung von Bildmaterial, die einer Selbstdarstellungsbroschüre des koreanischen Staates entnommen sein könnte: Raffinerien und Kraftwerke, Containerschiffe in voller Fahrt, intakte Landschaften und Infrastrukturen. Das durch die Verdichtung und Klassifizierung der Abbildungen in seiner Klischeehaftigkeit unterstrichene Bild Koreas ergänzten sie mit eigenen piktogramm- und logohaften Zeichen, die die stereotypen Einteilungen noch weiter zuspitzen. Mit einer zusätzlichen grafischen Intervention, Paketscheinen, wie sie derzeit als Variante des Graffiti kursieren, setzen sie der affirmativen Konstellation ein Element der Störung entgegen.

Haegue Yangs Interesse für Klassifizierungen und Systematisierungen, wie sie bei didaktischen Prozessen zum Ausdruck kommen, setzt sich in ihrer Beschäftigung mit Ordnungssystemen und Normprodukten fort. Dabei geht sie der Frage nach, welche Vorstellungen und Verhaltenserwartungen Produkten eingeschrieben sind und damit an die Benutzer weitergegeben werden. Durch kleine Veränderungen legt sie diese Implikationen offen. Mobiliar, Filofax-Inlays und Millimeterpapier waren die Objekte ihrer bisherigen Untersuchungen.

Bei ihrer Installation "Luft und Wasser", die der Ausstellung ihren Namen gibt, wird ebenfalls ein Standardsystem modifiziert und aus seinem üblichen Zusammenhang genommen: Die Arbeit besteht aus zwei Regalelementen, die frei im Raum stehen. Das eine Regal hat keine Einlegeböden, sein Rahmen ist leer. Im anderen Regal sind die Einlegeböden sehr eng gesetzt, so dass kaum Platz für Dinge bleibt, die darin zu lagern wären. Der Modus "Regal" wird zwar durch die beiden Objekte noch transportiert, die Aufmerksamkeit wird aber stärker auf ihre ästhetische Präsenz gelenkt. Der Titel "Luft und Wasser" bezieht sich auf eine sprachliche Erfahrung: Das Begriffspaar, das häufig im existentiellen oder metaphysischen Wortsinn zitiert wird, fand Haegue Yang an einer Tankstelle auf großen Leuchtbuchstaben vor. Die bedeutungsschweren Worte waren hier banal konnotiert: sie verwiesen lediglich auf alltägliche Gebrauchsgegenstände - eine Gießkanne und einen Luftkompressor.


Air and water
Isabel Podeschwa

Luft und Wasser, Katalog Dresdner Bank, Frankfurt 2002

"Traces of anonymous pupil-authors" is the title of a work by Haegue Yang based on pages taken from Korean school-books. The work displays underlines and other markings made by pupils while reading in these books. Haegue Yang deleted the original text so that only what was added remains visible. It seems as if the way in which the students dealt with the offered teaching methods could be read in the markings they made: some used the pencil to monotonously mark a line - the contents they had to learn were obviously accepted in terms of the structure in which they were presented to them. Others documented their desire to enter into a dialogue with the text more emphatically: connecting lines, parentheses and comments made the pupils‘ own systematisations and valuations part of the game.

Haegue Yang‘s interest is directed towards the process in which meaning is made accessible for the individual, and towards how meaningful elements are fitted into his or her individual order of knowledge. Each assertion is grasped by the recipient according to his or her biographical and cultural background, and thus triggers different associations. Haegue Yang is not only concerned with the way communication succeeds according to a model, but also with associations leading elsewhere, with mistakes and misunderstandings. Experimenting with "understanding" was part of the concept of this catalogue. Haegue Yang gave the graphic designers, who are familiar with her working method, Korean school-books of different subjects and grades and asked them to highlight features they found distinctive - without understanding the language - and to comment on them with their own graphical interventions. What came out is a combination of pictorial material which could just as well have originated from a marketing brochure published by the Korean State: refineries and power plants, container ships at high sea, intact landscapes and infrastructures. They supplemented the image of Korea, which was emphasized as a cliché by condensing and classifying the illustrations, with their own signs that are reminiscent of pictograms and logos and make the stereotype classifications even more pointed. Using an additional graphical intervention - parcel dispatch slips currently being used to apply tags - they confronted the affirmative constellation with a disruptive element.

Haegue Yang‘s interest in classifications and systematisations, as they are expressed in didactical processes, is continued by her examination of systems of order and standardised products. She investigates what ideas and expectations of behaviour are inscribed in products and thus conveyed to the user. These implications are revealed via small alterations. Furniture, filofax inlays and grid paper are some of the objects she has examined so far.

With her installation "Luft und Wasser/ Air and Water", which gives the exhibition its name, a standardised system is also modified and taken out of its customary context: the work consists of two free-standing rack modules. One rack has no shelves, its frame is empty. In the other rack, the shelves are placed so close to each other that there is hardly room for anything to be stored. "Set of shelves", as a mode, is still transported by the two objects, but one‘s attention is drawn more to its aesthetic presence. The title of the installation, "Luft und Wasser/ Air and Water", refers to an experience with language: Haegue Yang found the conceptual pair, which is often cited in its existential or metaphysical meaning, as huge neon letters at a petrol station. The words, loaded with meaning, were connoted in a quite commonplace way here: they simply referred to objects of everyday use - a watering-can and an air compressor.


Kann man Werke machen, die nicht "Kunst" sind?
Meike Behm

Zu der Installation "Was ich zuhause gerne hätte" von Haegue Yang

Marcel Duchamp stellte 1914 einen gewöhnlichen Flaschentrockner in den Raum einer Galerie, entband diesen Gegenstand seiner eigentlichen Funktion und transformierte ihn im institutionellen Raum zum Kunstwerk. Die institutionalistische Kunsttheorie bildete den Begriff "Kontext-Kunst" und umschreibt damit genau dieses Phänomen der "Über-Setzung" eines aufgrund des geringen Materialwertes einfachen Alltagsgegenstands in das "höhere" Umfeld der Kunst. Aufgrund dessen, dass diese Gegenstände bereits industriell und nicht künstlerisch hergestellt waren, wurde in den 30er Jahren der Begriff des "Ready-made" angewandt. Bedingung eines "Ready-made" ist, dass es ausgestellt wird - ohne die Konfrontation mit dem Kunstkontext würde das Objekt ein simpler Gegenstand bleiben.

Indem Haegue Yang funktionsgebundene Möbelstücke - ein Sofa und vier Regale - in den institutionellen Kontext des Wiesbadener Bellevue-Saals transportiert, werden diese ihrem eigentlichen Gebrauchswert enthoben zugunsten eines funktionsentbundenen, ästhetischen Gehaltes. Das Sofa wurde 1968 von dem Architekten Egon Eiermann (1904 - 1970) entworfen und zeichnet sich durch ein reduziertes Design aus, bei dem auf Ornament verzichtet wurde, die Sitzfläche und das Rückenteil zeichnen klare geometrische Formen; einfarbig beige Polster werden durch monochrom silber glänzende Stahlverstrebungen und Füße gestützt. Die vier Industrieregale folgen dem von der Otto Kind AG entwickelten Steckregalsystem Typ 100/30 SI. Sie sind einheitlich grau, ihre Gestaltung folgt rein funktionalen Kriterien : schnell und ohne Werkzeug montierbar, belastbar und ohne Kanten.

Indem es verboten ist, sich auf das Sofa zu setzen und indem die Regale keinerlei Gegenstände beherbergen, wird die Gebrauchsfunktion beider Möbelstücke eliminiert. Ihre von Funktionalität und klaren Formen bestimmte Gestalt tritt in den Vordergrund. Sie wird zum objektkonstituierenden Gehalt, der rein ästhetischen Kriterien folgt - die Möbelstücke wirken wie Skulpturen raumbestimmend und raumeinnehmend zugleich. Reduziert auf ihre ästhetische Wirkung erscheinen sie unprätentiös und nüchtern. Im Unterschied zu den "Ready mades" von Duchamp sind das Sofa und die Regale jedoch keine massenproduzierten Gegenstände anonymer Autoren. Indem Haegue Yang ganz bewusst Möbelstücke auswählt, die funktionalem Design folgen, entschließt sie sich zum einen für materiell hochwertige Stücke. Diese geistig-konzeptuelle Arbeit entspricht der handwerklichen eines Malers oder Bildhauers im traditionellen Sinne. Zum anderen identifiziert die Künstlerin ihre eigene Autorschaft mit den Gestaltern der Möbelstücke. Diese Identifikation tritt offen zutage in Verbindung mit dem Titel der Arbeit "Was ich zuhause gerne hätte".

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