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Taloi Havini: Reclaiming Space and History Latest Ocula Conversation
In Partnership with Artspace Sydney
Taloi Havini: Reclaiming Space and History By Ruth McDougall, Sydney

Artist Taloi Havini and Ruth McDougall, curator of Pacific art at Queensland Art Gallery and Gallery of Modern Art, discuss Havini's first Australian solo exhibition, Reclamation .

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Armory Week Lowdown: Art Shows to See Latest Ocula Report Armory Week Lowdown: Art Shows to See By Casey Carsel, New York

After structural issues forced The Armory Show into last-minute relocation pirouettes last year, the fair returns between 5 and 8 March 2020 with a flourishing programme, complemented by stand-out shows across New York City.

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Ella Kruglyanskaya Steals from Art History, Takes Back Gaze Ocula Insight Ella Kruglyanskaya Steals from Art History, Takes Back Gaze By Tessa Moldan, London

For her second solo exhibition at Thomas Dane Gallery in London, Ella Kruglyanskaya's compositions signal the many possibilities of paint.

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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
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
The Intermediate—Adorned Frosty by Haegue Yang contemporary artwork
Haegue YangThe Intermediate—Adorned Frosty, 2018Powder-coated stainless steel frame, powder-coated metal grid, plastic twine

Not For Sale
Para Site
Non-Foldings – Cosmic Explosion #5 by Haegue Yang contemporary artwork
Haegue YangNon-Foldings – Cosmic Explosion #5, 2017Stencil, black and white paper, spray paint
123 x 87.5 cm
Not For Sale
Duddell's

Haegue Yang 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
Closed
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, Solo Exhibition at WINSING ART PLACE, Taipei
Closed
19 September–10 November 2019 Haegue Yang Solo Exhibition WINSING ART PLACE, Taipei
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

Haegue Yang Represented By

Haegue Yang In Ocula Magazine

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Armory Week Lowdown: Art Shows to See Ocula Report Armory Week Lowdown: Art Shows to See By Casey Carsel, New York

After structural issues forced The Armory Show into last-minute relocation pirouettes last year, the fair returns between 5 and 8 March 2020 with a flourishing programme, complemented by stand-out shows across New York City.

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MoMA Expansion: Once the Modern, Always the Modern Ocula Report MoMA Expansion: Once the Modern, Always the Modern By 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 By 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 By 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 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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