HAEGUE YANG

Star-Crossed Rendezvous brings together two major installations executed using customized venetian blinds, a window treatment designed with adjustable angled slats that filter light and structure spatial relationships. This material has been central to Yang’s practice since the mid-2000s, allowing the artist to engage with the viewer’s perception and movement. Made nearly a decade apart, these markedly different works appear as two halves of an imperfect whole, foregrounding Yang’s interest in asymmetry and doubling, both recurring principles in her practice.

On one side of the exhibition, Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored (2015) is a monochromatic installation inspired by the cube structures of American conceptual artist Sol LeWitt (1928–2007). Yang adopts LeWitt’s open cubes and replaces them with a dense accumulation of blinds, with layers of slotted angular forms that oscillate between transparency and opacity. On the other side, Star-Crossed Rendezvous after Yun (2024) pays tribute to the life and work of Isang Yun (1917–95), a pioneering composer and political dissident. Moving lights synchronized to Yun’s Double Concerto (1977) animate vibrant geometric structures, producing a shifting, multisensory encounter with the musical composition.