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transmediale Artistic Director Kristoffer Gansing Looks Back Ocula Conversation transmediale Artistic Director Kristoffer Gansing Looks Back Terence Sharpe, Berlin

Since 2012, Kristoffer Gansing has worked as the artistic director of transmediale—a festival at the forefront of digital media and culture that analyses the current moment through self-reflection and anticipation of rapidly oscillating futures. Explorations into moving image, online culture, and the socio-political landscape of digital...

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Taipei Lowdown: Shows to See Ocula Report Taipei Lowdown: Shows to See Tessa Moldan, Taipei

As Taipei Dangdai returns for its second edition between 17 and 19 January 2020 at the Nangang Exhibition Center, a selection of exhibitions across the city confirm Taipei as one of the region's most exciting art hubs. Yahon Chang: Cursive OUR Museum, National Taiwan University of Arts (NTUA), No. 59, Section 1, Daguan Road, Banqiao...

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Images from Abroad: Lada Nakonechna at Galerie EIGEN + ART Ocula Insight Images from Abroad: Lada Nakonechna at Galerie EIGEN + ART Phoebe Blatton, Berlin

Lada Nakonechna's solo exhibition, Images from abroad at Galerie EIGEN + ART (9 January–20 February 2020) ostensibly takes place on an end wall of the gallery. The wall bears markings hand-drawn in graphite that evoke shadows once cast by pictures, since removed, their fixtures also left in situ. Serving as a framework of variable...

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HomePage Artists

b. 1971, South Korea

Haegue Yang Biography

Haegue Yang is an artist known for her subtle use of mundane objects within sensory installations. Yang graduated with a BFA from Seoul National University, then attended Städelschule Frankfurt am Main, Germany, receiving an MFA in 1999. Today, she lives and works in Seoul and Berlin.

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Yang’s work often incorporates ordinary items such as lightbulbs, clothing racks, industrial fans and blinds. Of these objects, venetian blinds have become a key part of her most recognised works. Yang first used venetian blinds in 2006 to capture her now longstanding interest in kinetic sculpture. Suspended from the ceiling or arranged in a structure, the blinds usually invite the viewer to navigate through them. Inside the installation, the viewer becomes aware of the play between light and shadow while fans create further motion, heightening the smell and humidity in the air. Objects quotidian in nature mediate the senses, prompting the onlooker to reimagine not only the objects’ function but also the space they create.

An international artist who has spent most of her adulthood outside her homeland, Yang shows particular interests in migration and diaspora, drawing inspiration from various cultures for her work. Instead of considering one culture at a time, however, she makes multiple cultural references in one work. The way she shapes her work resembles the manner of migration; it is as though the sculpture travels and serves as a medium in which elements of different cultures converge. While these elements do not contradict each other, they are disparate—as unlike each other as a Native American medicine man figure and Igor Stravinsky’s ballet and orchestral work The Rite of Spring (1993). Yang merges differences into one entity—a hybrid that transcends time and place.

A common feature many of Yang’s works share is their iterations. Some are part of a single collection, such as Medicine Men (2010) and her ‘Sonic’ sculpture series (2013–ongoing). Others like Storage Piece (2004) and The Malady of Death (2008–ongoing) are reborn throughout the years. With The Malady of Death in particular, Yang demonstrates her versatility by venturing into the realm of performance and conducting a stage reading. Inspired by Marguerite Duras’ 1982 novella of the same name, the reading is as much a new experience for the viewer as it is for the artist herself. Each performance features a different reader and stage, and each iteration holds a different revelation about the novella.

On her philosophy as an artist, Yang explained in her 2014 conversation with Ocula Magazine that art should be an experience, though not necessarily understood. Hence, abstraction is the primary language in her works. However, this does not mean she deliberately creates enigmas. In fact, Yang seeks to invoke in her audience an experience of senses—feelings that may not be understood in words. She calls the process ‘empowerment’: first drawing the viewer into her work—be it an installation of venetian blinds or a collection of sculptures—then granting to the viewer autonomy to freely navigate and realise the space’s full potential.

Before Yang came to prominence internationally, she received recognition as the recipient of the 2005 Cremer Prize and the Baloise Prize in 2007. Her breakthrough was in 2009 when she represented South Korea at the 53rd Venice Biennale, where she was also the first female artist to represent the country. Since then, her works have been exhibited internationally, including dOCUMENTA 13 (2012), the 8th Gwangju Biennale (2010) and the 9th Taipei Biennial (2014). Yang has also been shown in solo and group exhibitions at institutions such as Haus der Kunst, Munich (2012–13) and Bergen Kunsthall (2013).

Sherry Paik | Ocula | 2017

Haegue Yang Featured Artworks

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Coordinates of Speculative Solidarity by Haegue Yang contemporary artwork
Haegue YangCoordinates of Speculative Solidarity, 2019Digital colour print on self-adhesive vinyl film
Galerie Chantal Crousel Enquire about this work
Sonic Gym Milky Coiffured Cosmic Compression by Haegue Yang contemporary artwork
Haegue YangSonic Gym Milky Coiffured Cosmic Compression, 2019Powder-coated stainless steel frame, powder-coated mesh, steel wire rope, brass, copper and nickel plated bells, metal rings, plastic twine
93 x 77 x 77 cm
Kukje Gallery Enquire about this work
Edibles – NTUC Finest, OH’ FARMS, Thyme, each 50 g by Haegue Yang contemporary artwork
Haegue YangEdibles – NTUC Finest, OH’ FARMS, Thyme, each 50 g, 2019Vegetable pressed on paper, framed
68.5 x 119 x 4.5 cm (incl frame)
STPI Enquire about this work
The Intermediate – Ringed Extravaganza Shield by Haegue Yang contemporary artwork
Haegue YangThe Intermediate – Ringed Extravaganza Shield, 2018Powder-coated stainless steel frame, powder-coated mesh, plastic twine, bells
210 x 117 x 67 cm
Kukje Gallery Enquire about this work
The Intermediate – Ikebana Alienage by Haegue Yang contemporary artwork
Haegue YangThe Intermediate – Ikebana Alienage, 2016Artificial straw, powder-coated steel stand, powder-coated metal grid, casters, artificial plants, artificial vegetables, artificial stones
90 x 135 x 90 cm
Galerie Chantal Crousel Enquire about this work
Sol LeWitt Upside Down – Open Geometric Structure 2-2, 1-1, Expanded 22 Times, Mirrored by Haegue Yang contemporary artwork
Haegue YangSol LeWitt Upside Down – Open Geometric Structure 2-2, 1-1, Expanded 22 Times, Mirrored, 2017Aluminum venetian blinds, powder-coated aluminum hanging structure, steel wire rope, LED tubes, cable
215 x 353 x 213 cm
Kukje Gallery Enquire about this work
Cup Cosies, 2011 (For Parkett 89) by Haegue Yang contemporary artwork
Haegue YangCup Cosies, 2011 (For Parkett 89), 2011Knitting yarn in varying colours and patterns, each unique, 100 plastic cups
Parkett Enquire about this work

Haegue Yang Current & Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, Scènes dans une bulle de cristal | Seen in a crystal ball at Galerie Chantal Crousel, Paris
Upcoming
25 January–29 February 2020 Group Exhibition Scènes dans une bulle de cristal | Seen in a crystal ball Galerie Chantal Crousel, Paris
Contemporary art exhibition, Haegue Yang, When The Year 2000 Comes at Kukje Gallery, Seoul
Closed
3 September–17 November 2019 Haegue Yang When The Year 2000 Comes Kukje Gallery, Seoul
Contemporary art exhibition, Group Show, An Opera for Animals at Para Site, Hong Kong
Closed
22 June–25 August 2019 Group Show An Opera for Animals Rockbund Art Museum, Shanghai

Haegue Yang Represented By

Haegue Yang In Ocula Magazine

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MoMA Expansion: Once the Modern, Always the Modern Ocula Report MoMA Expansion: Once the Modern, Always the Modern Mohammad Salemy, New York

In the early decades of its existence, New York 's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...

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Liverpool Biennial 2018: How to Make a Beautiful World Ocula Report Liverpool Biennial 2018: How to Make a Beautiful World Eleanor Wiseman, Liverpool

The Liverpool Biennial, which opened 14 July and runs to 28 October, is celebrating its tenth edition with a question. The show's title, Beautiful world, where are you? , comes from Friedrich Schiller's poetic work invoking the Greek gods, Die Götter Griechenlands , or The Gods of Greece . Written in 1788, Schiller's text was set to music by...

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City Report: Berlin Ocula Report City Report: Berlin Rachael Vance, Berlin

Berlin-based Ocula contributor Rachael Vance selects her top five institutional shows currently on display in Germany's capital. KW Institute for Contemporary Art Willem de Rooij, Whiteout 14 September–17 December 2017 Eric Bell & Kristoffer Frick, Compound 13 September–17 December 2017 Known for his films, photography,...

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Haegue Yang Ocula Conversation Haegue Yang Katie Fallen, Hong Kong

For Haegue Yang, 2015 was a rather hectic year. Along with participating in major art events, such as the Biennale de Lyon, the Sharjah Biennial and the 8th Asia Pacific Triennial of Contemporary Art, Yang has also put together four solo shows around the world; including two extensive institutional exhibitions in Asia at the Ullens Center for...

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Haegue Yang In Related Press

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A Multisensory Exquisite Corpse: Haegue Yang at Seoul’s Kukje Gallery Related Press A Multisensory Exquisite Corpse: Haegue Yang at Seoul’s Kukje Gallery 9 October 2019, Frieze

Eerily crackling through an old speaker, backing singers 'ba-pa-ba' to xylophones. A woman touts the coming of the millennium, her voice spinning giddily over thrumming guitars and squelching synths. Playing outside the entrance to Haegue Yang's solo show in Kukje Gallery's K3 exhibition space, Hae-kyung Min's 1982 track 'AD 2000' sounds like a...

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Haegue Yang embarks on a surreal multi-sensory space odyssey in Seoul Related Press Haegue Yang embarks on a surreal multi-sensory space odyssey in Seoul 12 September 2019, Wallpaper*

They say art is abstract. But wait until they see the works of Haegue Yang. Even this broad term doesn't fully encapsulate the creations of the Korean artist, who is taking abstractionism to a whole new level.

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Yang Hae-gue brings world of transformations, juxtapositions to Seoul Related Press Yang Hae-gue brings world of transformations, juxtapositions to Seoul 2 September 2019, The Korea Herald

Yang Hae-gue has turned a gallery space into a place full of ill-matched images. Colors on the walls both dazzle and confuse visitors. Sitting in the middle are sonic and mobile sculptures. Scented gym balls roll between movable versions of her signature venetian-blind sculptures. And shallow layers of artificial fog from the corners fill the...

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Haegue Yang: Tracing Movement Related Press Haegue Yang: Tracing Movement 20 May 2019, The Brooklyn Rail

One difference between a diagram and a tracing is their relationship to abstraction. To diagram is to anticipate the production of something new, and a diagram's information can be read selectively. To trace is to attempt to capture the totality of a formation as something absent. Haegue Yang's exhibition Tracing Movement is marked by a tension...

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