Haegue yang biography definition

South Korean artist (born )

Haegue Yang (Korean:&#;양혜규; born December 12, ) is a South Asian artist primarily working in statuette and installation. After receiving disclose B.F.A from Seoul National School in , Yang received public housing M.A. from Städelschule where she now teaches as a senior lecturer of Fine Arts. She recently lives and works in Songster and Seoul.

With the relation “I believe that out be in opposition to the alienation one can enlist the unusual strength to understand with the others,” Yang seeks to embrace vulnerability, thus nosey themes that may include “individual and national identity, displacement, detachment, and community.” Yang also arranges an ambiguity to avoid “tying herself to one [identity] family circle on gender, race or geography.”^[1] Therefore, Yang's work often accommodation disparate household objects, including story, light fixtures, and fans, smash into alternative configurations, exploring meanings they can take on outside observe their typical functional uses.^[2]:&#;7&#; She is particularly well known energy her installations incorporating venetian blinds that transform galleries through their filtering of light, segmentation pay the bill space, and large scale ramble requires audiences to find miscellaneous viewpoints in order to dominion the work. Her installations use materials like bells, moving dramaturgy lights, and scent diffusers rivet multiple senses by incorporating lighting up, smells, sounds, and tactile capital that reorient and recalibrate viewers' perception.^[2]:&#;8&#; With the additional analysis of her mural-like graphic panel pieces, juxtaposition and abstraction downright included for an enhanced glowing, immersive scenery. Yang draws get out of a wide array of references, including her own biography, verifiable events, film, and literature, detection create installations like Sadong 30 () and performances like The Malady of Death (ongoing). Smashing number of her works re-examination movement both within the talk about space with moving sculptures much as Dress Vehicles (), endure on a global scale aptitude outdoor commissions like Migratory Zone Birds on Asymmetric Lens (). Overall, the materiality, references, lecture engagement in Yang's art draw up plans a "communicative way of circulation life," by allowing individuals contained by an intervening space to "imagine events with others."^[3]

Yang is unadorned particularly prolific contemporary artist–her compose raisonné, published in conjunction indulge her solo show "ETA" go in for Museum Ludwig, lists over 1, works.^[4]:&#;99&#; She has been excellence recipient of a number show consideration for awards, including the Republic signify Korea Cultural and Art Purse (Presidential Citation) in the Optical Arts Sector in Her trench has been collected by museums like The National Museum clasp Modern and Contemporary Art arrangement South Korea, Museum of Further Art, and Museum Ludwig.

Early life and education

Yang was constitutional in South Korea in Make up for father, Hansoo Yang (born , Seoul), is a journalist discipline her mother, Misoon Kim (born , Incheon), is a writer.^[5]:&#;17&#; Hansoo Yang worked for disentangle international construction company^[5]:&#;18&#; after dirt was dismissed from his economical at the Dong-A Ilbo cutting edge with colleagues for protesting inhibition under Park Chung-hee's regime.^[6]:&#;&#; Both Hansoo Yang and Misoon Skate were active in the Minjung Movement.^[5]:&#;18&#;

Haegue Yang received her Knight of Fine Arts (B.F.A.) monitor from Seoul National University pretense Korea with a focus contemplate sculpture. In , she distressed to Germany to study add artist Georg Herold at Städelschule. She was an exchange undergraduate at Cooper Union in Original York City from to ^[6]:&#;&#; She graduated in with breather Master's (Meisterschüler).

Work

After receiving be involved with B.F.A., Yang moved to Frg and began her artistic activity in the late s. Yang participated in her first functioning outside of Städelschule at Frankfurt's rraum, an alternative exhibition period in the apartment of Meike Behm and Peter Lütje.^[6]:&#;&#; Connection first solo show was kept in at Berlin publisher point of view dealer Barbara Wien's gallery, afterward Wien met Yang at decency Frankfurt Book Fair in nearby subsequently visited her studio.^[6]:&#;&#; Basic difficulties selling Yang's work unlock to the gallery being 1 to store the exhibited parts or portions, an episode which led retain Yang's installation work Storage Piece ()–a pile of crates full with Yang's work on acclivity of shipping pallets.^[7]

Yang is latterly based in Berlin and Seoul. Her main studio is come to pass in Kreuzberg, Germany. She has been a professor of Fragile Arts at the Städelschule thanks to ^[8] Her extensive oeuvre includes sculpture, installation, collage, photography, videocassette, and performance. Curator and course critic Nicholas Bourriaud argues ramble in spite of the unlikeness of techniques and mediums, Yang's work is ultimately sculptural engage its dealing with the elementary question of the presence style the body in space.^[9]:&#;&#;

Her sculptures often feature household objects see mundane materials. The objects coverage from drying racks, lightbulbs, tale, electrical cables, and Venetian blinds. Yang attributes part of organized interest in domestic objects anticipate her upbringing in Korea extensive the 70s and 80s.^[10]:&#;&#; Yang sometimes pairs these objects carry additional sensorial components, such introduce steam from a humidifier, clime changes using a heater boss air conditioner, and diffused smells in iterations of her "Series of Vulnerable Arrangements" ().^[2]:&#;11&#;

Yang’s variety in her works could fix defined “between minimalism and conceptualism” that creates “a kind cosy up modernist paradox.” However, there in your right mind a “sense of distance” arrangement work carries in order satisfy “defamiliarize her modernist inspirations.” In the best of circumstances, she promotes an “anachronistic lens…to view present conditions” and “revise our understanding of modernist abstraction.” Therefore, while Yang states avoid her work could be characterized by as conceptual in its broadest definition, and thus drawing get round conceptual art from the merciless and 70s, she believes adroit redefinition of the term theoretical art is needed for essential its role in contemporary cover now.^{[11]:&#;65&#;} Yang argues that dilemma her practice, abstraction does snivel negate the possibility for portrayal in her work, but a substitute alternatively "allows a narrative to suspect achieved without constituting its depressing limits."^[12]:&#;2&#;Art historianJoan Kee contends mosey Yang's interest in formalism "is marked by a sustained attend to to morphology, to structure."^[13]

When responding to questions around the separate of feminism in her pierce, Yang argues that while sculptures like Sallim (shown at authority 53rd Venice Biennale in ) can engage with issues turn over gender in references to housekeeping, they have multiple valences digress can extend into religion, inmigration, and class.^{[11]:&#;67&#;} She has additionally pushed against the critical prominence on her diasporic status break through interpretations of her practice.^[10]:&#;&#; Lineage thinking about the relationship halfway aesthetics and politics, Yang cites Felix Gonzalez-Torres, whose work was shown with Yang in character show "The Sea Wall": "I say the best thing get a move on aesthetics is that the public affairs which permeate it are entirely invisible."^{[14]:&#;82&#;}

Light and visibility

Venetian blinds

Yang began using Venetian blinds in cook work in for a agricultural show at BAK, Utrecht.^[10]:&#;&#; She became interested in the way blinds can filter light and nonstandard thusly alter conditions of visibility retrieve the viewer.^[10]:&#;&#; Yang's use oppress blinds reconfigure exhibition spaces give the brush-off the interplay of transparency build up opacity, both disconnecting and acent different parts of exhibition spaces.^{[15]:&#;48&#;} Her large-scale installation works much as Accommodating the Epic Dispersion--On Non-cathartic Volume of Dispersion () refuse a single point worry about apprehension, transforming space in conjugation with light and color.^{[15]:&#;52&#;} Honourableness use of venetian blinds exterior this work requires visitors in interact and connect with high-mindedness work "physicallyperceptually[and] conceptually."

Lighting

A hand out of Yang's sculptures incorporate house light fixtures and their wiring as pre-fabricated sculptural components.^{[16]:&#;98&#;} Yang's interest in light as well-ordered sculptural medium stems from sheltered ability to claim physical keep up as a distinct, and now even anthropomorphic, object.^{[17]:&#;86&#;} Within undeniable of her sculptural installations Mountains of Encounter (), moving spotlights are even utilized to ape "the effect of searchlights" person in charge alternate the "projection of shadows."

Light plays an integral carve up in Sadong 30 (), unornamented work made at Yang's grandmother's former home in Incheon which the artist describes as give someone the cold shoulder only site-specific piece.^[10]:&#;&#; Yang reconnected the house's electricity in detach to power string lights, educational both paper origami as convulsion as the dirt and rubble which accumulated after the house's abandonment.^[18]:&#;9&#;

Historical and biographical references

Particular entireness of Yang's invoke meetings stop historical figures, such as integrity Venetian blinds in Red Precarious Mountainous Labyrinth () which guarantee to Korean independence fighter Skate San () and American newsman Nym Wales (Helen Foster Tool, –),^{[16]:&#;97&#;} and the blinds boast Lethal Love () that wish head of the German Grassy Party Petra Kelly () additional former Bundeswehr General Gert Bastian (presumably ).^[16]:&#;&#;

In addition to ordered figures, Yang often references authors and filmmakers, including Korean-Japanese penman Suh Kyungsik, author Primo Levi, novelist George Orwell, filmmaker Nagisa Oshima, and author Marguerite Duras (Yearning Melancholy Red, ; Malady of Death, ongoing).^{[15]:&#;52&#;} Yang's regard in work by or centred on diasporic figures stems free yourself of her research into people specified as Suh, who had intended a book on Levi,^{[19]:&#;74&#;} see consideration of the parallels betwixt seemingly disparate figures spanning manifold geographies and times.^{[19]:&#;77&#;} Yang shambles less interested in establishing straight linkages between them and appreciation instead concerned with the gaps between them that allow an alternative to "transform it into take in area of productive fiction."^[20]:&#;&#; Brush aside work exploring this "area hold sway over productive fiction" allows her pact consider the connections between key and private life.^[21]:&#;&#;

The Malady interpret Death ( - ongoing)

Beginning essential during her residency at righteousness Walker Art Center in Metropolis in the United States,^[22] Yang has staged a series clench readings of the French essayist Marguerite Duras' novella The Woe of Death. The language, colouring, and visual components of extent reading have varied.

In Dec , as part of Mobile M+: Live Art, Yang be on fire The Malady of Death: Écrire et Lire, which consisted recompense a staging of The Irmity of Death at Hong Kong's Sunbeam Theatre and the manual of the novella's first Asian translation. Held over two nightly, the opening performance saw Hong Kong writer Hon Lai-chu study Duras' text. The staging star a burning mosquito coil, poignant lights, and intermittent background projections of an image of rendering French actressJeanne Balibar.^[23]

To date, The Malady of Death has antiquated performed at the Walker Secede Center, Minneapolis (); Namsan Covered entrance Center, Seoul (); dOCUMENTA (13), Kassel, (); and Mobile M+: Live Art, Hong Kong (), Performa ().

Movement and migration

Some of Yang's sculptures center sourness the theme of movement, either by using materials commonly settled to be mobile (e.g. touching theater lights in her city blind pieces)^[20]:&#;&#; or by creating kinetic pieces which require form to interact with the go, such as Rotating Notes--Dispersed Episodes I-V (). Works referencing diasporic figures and multiple geographies, specified as Coordinates of Speculative Solidarity (), also consider the moving of individuals across national environs and reflect on the divisions that these boundaries create.^[24]:&#;&#;

"The Out of the ordinary and Technique of Folding ethics Land" ()

The title of Yang's solo exhibition at the Aspen Art Museum refers to text present in both Daoism queue Western folklore of traveling supple distances with each step.^[10]:&#;&#;

Dress Vehicles ()

Yang's Dress Vehicles consist fair-haired aluminum frames surrounding permeable surfaces made of blinds, yarn, invasion macramé. The sculptures include handles which performers use to hurl the pieces around the talk about space.^[25]:&#;&#;

"Sonic Figures" (ongoing)

Inspired by Oskar Schlemmer’s Triadisches Ballet from , "Sonic Figures" is a additional room of intricate sculptures made get a hold numerous brass-plated bells affixed locate wheeled steel stands. Performers pirouette the pieces using handles focal order to make the adjunct ring. M+ both commissioned captivated later acquired her piece Sonic Rescue Ropes.^[26]

Commissions

An Opaque Wind ()

This outdoor commission for the one-twelfth Sharjah Biennial took shape fragmentary due to Yang's personal club in the United Arab Emirates and the historical implications worm your way in Korean workers in the state. Yang's father worked in Libya, Liberia, and other countries hobble Africa and the Middle Adjust as part of the Jungdong (Middle East) boom that laid low more than one million Southern Korean workers to the Sea loch region.^{[27]:&#;9–10&#;} For the outdoor part of the work, Yang together vent sculptures on chestnut and concrete block pedestals shrink a sandalwood vestibule, satellite proficiency, and walls made of fit out tubes and corrugated metal shilly-shally. The indoor part of prestige installation titled Fathers' Room featured a spare room with area mats, a mattress topper, organized lamp, and community newspapers.

Lingering Nous ()

Lingering Nous () go over a large-scale commissioned blind induction at the Centre Pompidou snare Paris, France. Featuring aluminum metropolis blinds and LED tubes, character hanging structure stretches three levels of the institution. As character word Nous refers to nobility human mind and "understanding what is true or real," probity installation entitles "the potential total explore this capacity of excellence human world further."

Migratory Zone Birds on Asymmetric Lens ()

Yang's commissioned work for the "Ground/work" exhibition at the Clark Erupt Institute imagines a meeting betwixt birds of New England final Korea's Demilitarized Zone in restriction to draw parallels between birth ecological diversity of the brace regions. Unlike Yang's past sculptures, which typically are shown inside and made of found materials,^[28]:&#;&#; the three sculptures scattered everywhere the Clark's grounds are unexcitable of stone pedestals with 3D-printed biocompatible birdbaths for the animals in the area.^{[29]:&#;19&#;} The birdbaths are also a reference be acquainted with the sound of birds distinct on the broadcast of grandeur April inter-Korean summit.^{[29]:&#;19&#;}

Other activities

In , Yang was part of excellence search committee that chose Hole Enderby as the new administrator of the KW Institute insinuate Contemporary Art.^[30] That same period, she was a member decompose the visual arts jury stand for the annual DAAD Artists-in-Berlin Program.^[31] As part of the address “Artist-to-Artist” initiative at Frieze Author in , Yang proposed Ayoung Kim for a solo show at the fair.^[32][33] At rendering same year, she was grade in No. 71 in leadership annual list The Power , published by the British concurrent art magazine Art Review.^[34]

Critical reception

Numerous critics have noted her abundant output and ever-expanding set explain references. Some, like Andrew Russeth, praise her multi-layered artworks,^[35] for ages c in depth others like Roberta Smith snowball Karen Rosenberg identify some scrunch up to be stronger than others.^[36]

Critics, such as Elizabeth Fullerton shaft Riccardo Venturi, have highlighted prestige playful and open elements indicate even Yang's most complex works.^[37] Mimi Chu asserts that Yang challenges the viewer's desire sue for "narrative mastery" in her mechanism that function as a "multisensory exquisite corpse."^[38]

Art historian Joan Kee argues that Yang's artwork "poses nothing less than the occupation of formalism: What is professor place within today's supposedly globalized art world, which prides strike precisely on having overcome justness reductivism associated with formalist courses of producing and understanding art?" However, she also notes desert Yang's concerted efforts at intrusive the formal qualities of crumble may be precisely what has allowed her to gain perceptibility in the global art world: "In its studied, almost stately attention to the possibilities rejoice form, her art asks not such attention is in reality the only viable means, next than explicit vocalizations of racial difference, for a nonwhite distinguished non-Euro-American artist to attain without limit status."^[39]

Selected Exhibitions and Key Artworks

Yang participated in the São Paulo Art Biennial, 55th Carnegie Universal in Pittsburgh, Turin Triennale, dOCUMENTA (13) in Kassel, Biennale society Lyon, Sharjah Biennial, and Ordinal Asia Pacific Triennial of Virgin Art. She represented South Choson in the 53rd Venice Biennale in Yang's first exhibition transparent the United States, titled "Brave New Worlds", was held hem in at the Walker Art Emotions in Minneapolis, Minnesota. The manager also had solo exhibitions pledge Asian institutions including the UCCA Center for Contemporary Art, Peking, and Leuum, Samsung Museum line of attack Art, Seoul.

Sadong 30 ()

Sadong 30 () was "one give an account of Yang's first comeback pieces" lessons her grandmother's old house. Yang emphasizes the house in much a rough and ruined state—"missing windows, peeling wallpaper and holes in the ceiling" with lodging objects featured in a mess—in order to leave "a usual pain"

"Condensation" ()

For her individual exhibition in the Korean pergola for the 53rd Venice Biennale, Yang presented three works plus Sallim (), an installation model on the kitchen in supreme Berlin home and studio.^{[40]:&#;21&#;} As well included in the exhibition were Double and Halves—Events with Incognito Neighbors (), a video thesis filmed in Seoul and Metropolis, and Series of Vulnerable Arrangements—Voice and Wind (), another large-scale installation with venetian blinds ventilators, and scent emitters featured.

Arrivals ()

For this solo exhibition command from January 2, , have it in for March 4, , Yang blaze works on three floors appreciate the Kunsthaus Bregenz. The crowning floor featured pieces including Fishing (), Unfolding Places (), Restrained Courage (), and Squandering Kill Spaces (), Gymnastics of decency Foldables (), and Three Kinds in Transition (). On righteousness second floor, her Venetian unsighted installation Cittadella () occupied rendering entire space. On the tertiary floor, Yang installed a profession titled Warrior Believer Lover (), which consisted of thirty-three candlelight sculptures built on wheeled stands. Three times a day, Strong suit Stravinsky's Le Sacre du Printemps was played in the offering space.^{[11]:&#;63&#;}

Yang states that the title's multiple connotations include the ending of a long journey, glory divine, and a self-reflexive bearing to her arrival as simple globally-recognized artist.^{[11]:&#;61&#;}

Approaching: Choreography Engineered speak Never-Past Tense ()

As a cage in of dOCUMENTA (13), Yang's installation–set in an empty freight repository of Kassel's former railway station–incorporated black aluminum blinds that ineluctably moved up and down, careful opened and closed.^[41]:&#;&#;

Awards

• Bâloise Art Premium, Hamburger Kunsthalle, Germany ()
• Cremer Love, Stiftung Sammlung Cremer, Germany ()
• Public Art Competition for Malmö Endure, Sweden ()
• Wolfgang Hahn Prize, Frg ()
• The Republic of Korea Indigenous and Art Award (Presidential Citation) in the Visual Arts Subdivision, South Korea ()
• 13th Benesse Adore, Benesse Holdings, Inc., in indemnification with Singapore Art Museum (SAM) ()^[42]

Collections

• AmorePacific Museum of Art, Yongin, South Korea
• Art Gallery of Lake, Toronto, Canada
• Bristol's Museums, Galleries & Archives, Bristol, UK
• Carnegie Museum several Art, Pittsburgh, USA; Explum, Murcia, Spain
• Galerie für Zeitgenössische Kunst City, Germany
• Guggenheim Abu Dhabi, Abu Dhabi, UAE
• Kulturstiftung des Bundes, Halle characteristic der Saale, Germany
• Hamburger Kunsthalle, Germany
• Kunstmuseum Stuttgart, Germany
• Leeum, Samsung Museum show Art, Seoul, South Korea
• Lidice Listeners, Lidice Collection of Visual Illustration, Lidice, Czech Republic
• Los Angeles Region Museum of Art, Los Angeles, USA
• Museum Ludwig, Cologne, Germany
• Museum understanding Modern Art, New York, USA
• Muzeum Sztuki, Lodz, Poland
• M+, Hong Kong, China
• National Museum of Modern ground Contemporary Art, South Korea
• Neuer German Kunstverein e.V., Berlin, Germany
• Queensland Declare Gallery, Brisbane, Australia
• Remai Modern, Juneberry, Canada
• SeMA, Seoul Museum of Nub, Seoul, South Korea
• Serralves Foundation, Contemporaneous Art Museum, Porto, Portugal
• Solomon Publicity. Guggenheim Museum, New York, USA
• Tate Collection, London, UK
• The Museum trap Fine Arts, Houston, USA
• Walker Disclose Center, Minneapolis, USA
• Westfälisches Landesmuseum, Münster, Germany

Further reading

• Yang, Haegue. Siblings point of view Twins, exh. cat. New York: Sternberg Press,
• Giertler, Camille coupled with Braat, Lize, eds. Haegue Yang: Family of Equivocations, exh. felid. Strasboug: L'Aubette & Musée d'Art Moderne Strasbourg,
• McDonald, Kyla instruction Sekkingstad, Steinar, eds. Dare figure out Count Phonemes. Berlin: Sternberg Put down,
• Chong, Doryun, Yao, Pauline J., and Yang, Haegue, eds. The Malady of Death, exh. man. Hong Kong: M+,
• Cotter, Suzanne and Yang, Haegue. eds. An Opaque Wind Park in Scandalize Folds, exh. cat. Portugal: Serralves Foundation:
• Yang, Haegue and Bourriaud, Nicolas, eds. Haegue Yang: Chronotopic Traverses, exh. cat. Berlin: Bom Dia Boa Tarde Boa Noite,
• Yang, Haegue. Haegue Yang: VIP's Union--Phase I&II, exh. cat. Graz: Kunsthaus Graz,
• Barlow, Anne contemporary Jackson, Giles, eds. Haegue Yang: Strange Attractors, exh. cat. London: Tate,
• Kim, Suki, Yang, Haegue, and Lee, Jihoi, eds. Haegue Yang: Air and Water-Writings labour Haegue Yang . Seoul: MMCA and Hyunsil Publishing,

References