haegue yang
haegue yang, moonless soul site–mesmerizing mesh #266, 2024
kurimanzutto is proud to present Haegue Yang’s second solo exhibition in Mexico City, Arcane Abstractions, featuring works that present a continuation of her deep engagement with abstraction on her own terms. The exhibition brings together diverse bodies of work and diverse bodies of work, alongside an archival display with pieces made by Mexican artisans and references to local materials closely tied to the works on view.
Structured as a ritualistic passage, the exhibition’s layout uses the architectural axes of the gallery to create symmetrical arrangements of the works. Central pieces include Mexican-crafted interpretations of the Japanese sacred straw rope shimenawa and the Slavic pagan harvest celebratory object didukh, both of which were produced in collaboration with local artisans using traditional methods and Mexican materials.
Arcane Abstractions reflects Yang’s sustained inquiry into cultural heritage, material exploration, and ritualistic symbolism, seeking to foster a genuine dialogue toward fluidity without losing one’s vernacular, tribal, and civilizational perspective. Yang puts forward a proposal to live our lives today with a holistic view of mobility and technology, respect for spirituality, as well as contemplation on the resilient adaptability of both nature and humans. In so doing, she offers viewers an opportunity to engage with a layered and symbolic interplay of tradition and contemporary art.
An integral part of Yang’s exhibition is the accompanying publication Mesmerizing Mesh – Power Paper, which documents her exploration of the ritualistic use of paper. Including a notable essay by Marta Turok, Power Paper serves as an introduction to paper’s role within vernacular craftsmanship and ritualistic traditions drawn from indigenous life, folk culture, and shamanism.
read the full article on south china morning post
read the full article from art asia pacific
read the full article of haegue yang on the new york times
smk national gallery of denmark presents haegue yang double soul
Read the full review on Haegue Yang's reflection over Sophie Taeuber-Arp's Art Legacy in Wallpaper Magazine.
Haegue Yang selects a number of works by the artist, poet, author, essayist and political activist, Jimmie Durham.
Jimmie Durham & Haegue Yang talk in an all in-conversation exclusively for kurimanzutto's Art Basel: Pioneers Online Viewing Room.
Jimmie Durham & Haegue Yang participate in Tate Modern's Room 6 and 9 Displays: Materials and Objects.
Haegue Yang and Nairy Baghramian take part in The Clark Institute's first outdoor exhibition of site-specific comissioned works.
Yang’s exhibition creates an environment in which uncanny and seemingly disparate ideas, cultures, relations and time periods coexist.
The Cone of Concern at the MCAD centers around the idea of the ‘tropical depression’, a weather disturbance characterized by strong winds that take place mostly in the region of the Pacific Ocean and Indian Ocean.
Featuring over 70 sculptures, installations and performances from the past twenty-five years, Haegue Yang: Emergence includes a selection of early works as well as two new installations comissioned for the ocasion.
In MMCA Hyundai Motor Series 2020: Haegue Yang - O2 & H2O, the artist attempts another leap toward "the abstraction of reality."
The Willfulness of Objects presents a selection of works from The Bass’ collection, many newly acquired, by artists who utilize found, altered, recycled, or transformed everyday objects as their materials to explore facets of human nature, history, and the surrounding environment.
The artist discusses her work, identity, and the inspiration behind her new commission, Handles, with curator Stuart Comer.
Read full article about Haegue Yang's exhibition In the Cone of Uncertainty at The Bass Museum of Art, Miami.
Read about Haegue Yang's work and her reflections on solitude and belonging.
The Istanbul Biennial has served as a dynamic plane of interaction, a meeting point, and a critical site for the development of new aesthetic and political visions.
In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux.
Handles, Yang's installation comissioned for MOMA's Marron Atrium, features six sculptures that are activated daily, dazzling geometries and the play of light and sound, to create a ritualized and complex environment with both personal and political resonance.
The exhibition is part of a long-term collaboration between the two institutions and the institutional exchange will see another exhibition at Para Site, Hong Kong in September 2020.
On the walls, large-scale works from Yang’s Trustworthies series (ongoing since 2011) are shown alongside new Hardware Store Collages (2012- ) and Lacquer Paintings (1994- ), creating a visual dialogue between familiar household objects and abstraction.
This publication is printed on the occasion of Haegue Yang’s solo exhibition of the same title at La Panacée – MoCo in Montpellier. Chronotopic Traverses brings together unexpected arrangements of Yang’s versatile sculptures of various materials against a backdrop of a panoramic and dramatic wallpaper titled Incubation and Exhaustion (2018, in collaboration with Manuel Raeder).
Haegue Yang receives the Republic of Korea Culture and Arts Award (Presidential Commendation) in the visual arts sector by the Ministry of Culture, Sports and Tourism (Minister Do Jonghwan). This year, the MCST announced a total of 31 recipients for the Citation of the Person for Merit, the Development of Culture and the Arts in 2018, which is classified into three divisions: the Order of Cultural Merit, the Culture Award and the Arts of the Republic of Korea and today's Young Artist Award. Yang has been awarded the Republic of Korea Culture and Arts Award, awarded to an outstanding person in each of the following five sectors: general culture, literature, visual arts, music, and theater / dance.
Yang’s practice spans a wide range of media, from paper collage to performative sculpture and large-scale multi-sensorial installation, often featuring everyday objects, in addition to labour-intensive woven sculptures.
This exhibtion it points to her deep engagement with the unspoken: the urge to create a language as subtle and delicate as a tightrope walk, where movement becomes powerfully dynamic and charged with both emotional and perceptual tension.
Works from the museum’s holdings of international contemporary art are brought into oftentimes surprising and unconventional situations of dialogue: Sigmar Polke/Haegue Yang, Maria Lassnig/Georg Baselitz, Neo Rauch/Tony Cragg, Georg Baselitz/Mike Kelley, Vajiko Chachkhiani/Peter Doig among others.
Triple Vita Nestings uses formal strategies—such as layering, doubling, splitting, and merging— to reveal how individual subjects are embedded in the lives, stories, and contexts of others.
The exhibition will begin with Yang’s first venetian blind installation from her 2006 Series of Vulnerable Arrangements - the 2006 Version Utrecht, an immersive and sensorial experience unfolding from a composition of various materials and the simultaneous use of wind, scents, light, and heat. Within this arrangement, video essays document the artist’s travels through cities around the world and convey feelings of home, isolation, and dislocation associated with her itineracy in quite personal commentaries.
Haegue Yang’s mobile sculptures, Dress Vehicles, are displayed in the Tanks. The wheeled structures are constructed from aluminium frames, blinds and intricate knotted textile macramé. They have been given titles Bulky Lacoste Birdy, Zig Zag and Yin Yang and are inspired by the choreographed geometry of Bauhaus artist Oskar Schlemmer’s Triadisches Ballett 1922.
