haegue yang
haegue yang, moonless soul site–mesmerizing mesh #266, 2024
The gallery is pleased to present Haegue Yang’s (b. 1971, Seoul) second solo exhibition, Arcane Abstractions, in Mexico City, following her 2017 exhibition, Ornament and Abstraction. Continuing her keen pursuit of a unique definition of abstraction, the exhibition showcases a range of works alongside an archival display.
Structurally conceived as a ritualistic passage, the works and materials are arranged in a symmetrical layout. Yet, they remain hybrid and interwoven in their varied origins of materiality and technique, reflecting Yang’s ongoing exploration of global craft traditions, ritualistic forms, and vernacular techniques. Key works include Mexican-crafted interpretations of the Japanese ritualistic straw rope shimenawa, the Korean geumjul, and the Slavic pagan harvest celebratory object didukh.
Another core element of the show is Yang’s investigation of ritualistic paper traditions, culminating in Mesmerizing Mesh. Informed by historical documents and insights from her field trips, Arcane Abstractions offers a richly layered reflection on the resilient adaptability of indigenous traditions.
As an extension of the exhibition—and an independent achievement—the publication Mesmerizing Mesh – Power Paper will document Yang's recent exploration of the ritualistic use of paper and will feature an essay by Marta Turok.
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.
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.
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.
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.
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.
