WHEN THE ARTIST Haegue Yang shows old artworks in new places, she likes to create a fresh piece that links the exhibition to the local context. I am interested in all types of weaving, because it is fascinating for me to weave thin materials to create a surface, which later can be developed into a three-dimensional space. Yang is the first to admit she can be manic and “inhumane” when she is planning exhibitions. Every year is a busy one in the Banksy-verse, but in 2020, the agit-prop prankster made his influence felt far and wide. The hypnotic spectacle was enough to stop tourists, and even regulars (“This is the strangest thing I’ve ever seen at MoMA,” one man said to his companion as the sculptures jingled by). Gurdjieff, the exiled Korean composer Isang Yun — and to political events. Weaving is similar to origami – by simply folding a sheet of paper, one can create a three dimensional space. After months of meteorological research, Yang produced a new work for the Bass show: “Coordinates of Speculative Solidarity,” a chaotic floor-to-ceiling digital collage swirling with storm-tracking symbols, satellite photos of Floridian McMansions, distorted palm trees and sinister gyres that covers vast swathes of the museum like dystopian wallpaper. The dealer Barbara Wien gave Yang her first solo show in Berlin in 2000 and began taking her work to fairs, but the pieces often failed to sell. Yang, however — an artist who is not known to spend more than a few days or weeks at a time in any given place — takes a stubbornly elliptical approach, refusing to embody any single nationality or perspective in her work. Demoralised and in debt, Yang decided that she had “struggled enough.” She scaled back her practice and got a full-time job organising talks for the Frankfurt Book Fair. Labour is often associated with hard physical work, while the idea of ‘digital’ sounds as if it requires less work, which is often untrue. Interview by Angelica Moschin. Images courtesy of the BASS Museum and the artist. The actual period of invention and innovation comes after this. This tendency to drift away from one’s own logic, or unlearn a self-established rule, is characteristic of my work. I also wanted to learn macramé for a long time. The idea of taking one’s time is interesting to me, questioning if one is truly being productive or squandering these moments away. Canadian West Coast Contemporary artist, Angeline (Geline) Payne has taken her art academics through the realms of multi-media, abstract, cubism and beautiful representation still life, landscapes and seascapes. “I want to be critical but at the same [time] I don’t want to be someone who keeps complaining,” she said. Haegue Yang: In The Cone of Uncertainty At The BASS Museum. It was a work so personal that being there might have felt like an intrusion, but Yang’s subtle gestures tapped a universal pain — of loss, of change, of our shared inability to keep things from ending. But the installation was also laced with cryptic references to historical figures — the Swiss polymath Sophie Taeuber-Arp, the Eastern-European mystic G.I. The obliqueness of the blinds achieved an ambivalence of being comfortingly separated yet sufficiently connected. WHEN THE ARTIST Haegue Yang shows old artworks in new places, she likes to create a fresh piece that links the exhibition to the local context. Share. “She always creates conditions for her own security or her own confidence.”. If I know that the technique will be important, I invite an artisan to give a workshop to the studio so that we learn together. In her world-wide studies, transcending ART in the fusion of color and light, ART has kept Geline connected with the spirit of the land and people. Later works diverted from this imitation of the ‘real’ material, to incorporate synthetic, cheap and industrial materials such as shiny black and white plastic cords. You are known for bringing together a diverse range of materials to create immersive environments and artworks. Until a year and a half ago, when she finally moved, her Berlin apartment had nothing in it except a futon on the floor and a lighting system she rigged to switch on and off while she was away. This password will replace the old one. You need to type at least 2 charecters to seach. I believe that every encounter, whether it’s with a person or a material, is fundamentally a mixture of accident and destiny, although I do unconsciously look for materials that carry meanings of domesticity, our world, or some quality relevant to our lives. I felt so exposed to nature and the local cultural and sacred landscapes. She was born in Seoul in 1971, 26 years after the Korean Peninsula had been divided, amid political upheaval that would cleave her family apart. The views and opinions expressed within T: The New York Times Style Magazine Singapore are not necessarily those of The New York Times Company or those of its contributors.". “She’s very demanding and not everyone can stand it,” said Barbara Steiner, the director of Kunsthaus Graz, who curated Yang’s solo exhibition there. [Herald Interview] Yang Hae-gue’s art cuts through regions, generations, times ... Haegue Yang - O2 & H2O,” showcases the artist’s 40 works, including works created for the show. Crouched there, as far away as possible from the throng around the bar, she told me that she has always felt irrelevant at openings, ever since her first show: “like my job is done and I should disappear.” She gestured at the crowd of people sipping glasses of Gelber Muskateller. Charmaine Branch, Jenny Harris, Anny Aviram, Anne Umland, Isabel Custodio. What is the significance of craft and skilled hand-making to you? PR: In the Cone of Uncertainty foregrounds Haegue Yang’s (b. In 2019 alone, she was in 15 shows on four continents. In the summer of 2008 during the preparations for Yang‘s solo exhibition Asymmetric Equality at REDCAT, Los Angeles Haegue Yang for Art in Asia By Clara Kim Since 2006, Haegue Yang’s installations have taken the form of temporary and ephemeral fields of sensory haegue yang in conversation with t. j. demos T. J. Demos [TJD] In preparing for your 2012 commission at Haus der Kunst, how did you think about approaching the difficult history represented by the architectural site, given that the neoclassical building was constructed during the 1930s following plans of architect Paul Ludwig Troost, representing Shamans in training will go door to door begging for unwanted metal — old spoons and other jetsam — which they melt and recast into rattles. These days my role as the artist in the studio is to determine the steps we need to develop skills. “I have colleagues who told me they will never, ever work with Haegue again.” Steiner, who invited Yang to come back and participate in the group show, dismissed these complaints. Five performers danced the wheeled pieces around the space in lilting arcs. For her current presentation at the Bass, a museum in Miami Beach, Yang asked the curators what the region’s famously multicultural residents have in common. by Yilmaz Dziewior, Cologne 2018. In November, she made a brief appearance in Graz, Austria, to install work in a group show at the city’s contemporary art museum, Kunsthaus Graz. “Here is loneliness,” she said, pointing to one of them, “and here is humbleness. In the new wallpaper piece, Non-Linear and Non-Periodic Dynamics, and in the new Trustworthies collage works, are notions of coastal landscapes, oceans, fog, floods, rain, waterfalls, storms and even dams, taps and buckets. The Korean artist Haegue Yang has been awarded the 2018 Wolfgang Hahn Prize by the Gesellschaft für Moderne Kunst at the Museum Ludwig, Cologne. “But isn’t there any commonality you can think of?” she asked. “It just didn’t exist,” she said. Read more interviews with inspiring artists. “I used to endure those things even if I couldn’t enjoy them,” she said. It explores the concept of chaos in the natural world, how it resists human prediction and classification, and humankind’s universal venture to live within chaos and unpredictability. In a way, Yang is also a kind of translator — her works contain unlikely conversations, between craft, technology, abstraction and narrative, in which one can hear echoes of the past and whispers of the cataclysmic present. A particular holiday? Monographs, Artists’ Books and Exhibition Catalogs (chronological-alphabetical) 2018 Beautiful World, Where Are You?, ed. Yang, now working in Berlin, was born in Seoul in 1971. T.J. Demos, “Accommodating the Epic Dispersion: Haegue Yang in Conversation With T.J. Demos,” in Haegue Yang (Munich: Haus der Kunst, 2013), 71-83. Role models were scarce. Usually, I learn a craft-based technique first and then teach this to the rest of the studio, so we can collectively produce the works. As uncomfortable as this period was, it arguably forms the core of her practice. “It’s a tough job to be my friend.” Ortega emphatically agreed. But, as Yang has noted, it also might have been “an act of self-empowerment by an immigrant artist” at a moment when gaining international art-world recognition as an Asian woman was practically unheard-of. T: The New York Times Style Magazine Singapore’s best videos: digital house tours from around the world, behind-the-scenes looks at cover shoots and more. Humour is a major thread throughout Yang’s work. The difficulties she experienced, not just linguistically but as an Asian woman in a homogeneous white milieu, made Yang realise that selves are fragile things — they can break in transit. In earlier iterations of the series, begun in 2015, I employed synthetic products that emulate natural straw. The Thai artist Rirkrit Tiravanija, who is known for performances in which he cooks and serves meals for large audiences, “was the only one who wasn’t painted by Orientalism,” she said, meaning that he was seen as an artist first, an Asian artist second. The Mexican artist Damián Ortega, who met Yang at the São Paulo Biennial and became one of her few confidants, recalls going to dinner with Yang and his dealers, the owners of Kurimanzutto gallery, in Mexico City. Even so, Yang remains a grudging, and sometimes awkward, participant in art world rituals. Enter a new password for this account. I then started studying their products and techniques and realised the necessity to archive their weaving patterns. So far I can maintain it but … what then? The Mystic Landscapes of Haegue Yang. Known for using utilitarian household items, from space heaters to extension cords, and placing them out of context, Haegue Yang’s works reflect the transitory nature of the artist’s own experience of living and working in multiple locations. In 15 shows on Four continents enter your email that you use to and. Tj Demos, ” she asked artist, who often communicates in diagrams reached... He said s been on ever since you can not reduce it to a “ ”. 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