haegue yang interview

By. Interview by Angelica Moschin. 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. In addition, "Haegue Yang: Strange Attractors" will kick off at Tate St Ives in the British port city on Oct. 24. Haegue Yang, Courtesy the artist.. At Haegue Yang’s exhibition at the Leeum, Samsung Museum of Art in Seoul, “Shooting the Elephant 象 Thinking the Elephant,” the visitor will encounter installations and sculptures composed of bright brass bells, electric fans, light bulbs, and Venetian blinds, all involved in a dance of movement, light, texture, and sound. Not long after Yang’s father’s return in 1988, her parents divorced; her mother moved away to join the workers’ and trade-union movement soon after. This piece, comprising eight cushions on a wooden modular stand, borrows some of the motifs, techniques and shapes from St Senara’s, such as the labour-intensive cross stitching technique used on the pew cushions and the design of a sitting and kneeling bench. 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. Just as the institutions of the 1980s and ’90s seized on artists creating work around their socially marginalised identities (female, gay, nonwhite), it sometimes feels as though the current art world showcases people born outside the United States or Europe only on the grounds that their art refers to their heritage. By Andreas Schlaegel 16.10.13 Interview Artikkel på norsk Haegue Yang, Sonic Figures, 2013. 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 Your work is often inspired by context. HAEGUE YANG: That installation was a mute sensorial field, composed of devices such as lights and scent emitters that were juxtaposed with a ‘voice’ from video essays in the same space, which was demarcated by Venetian blinds. 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. By Registering, you agree to our Terms of Use and Privacy Policy. You need to type at least 2 charecters to seach. So far I can maintain it but … what then? The artist herself is like the calm center of a high-velocity hurricane. 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. 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. To save articles or get newsletters, alerts or recommendations - all free. This catalogue accompanies two parallel solo exhibitions by Haegue Yang held in the fall of 2013: “Journal of Bouba/kiki” at Glasgow Sculpture Studios (October 5–December 20, 2013); and “Journal of Echomimetic Motions” at Bergen Kunsthall (October 18–December 22, 2013). Even after the initial learning phase is over, one needs a long period of time, or a mastering period, to practise. Yang acknowledges that she might be “doing a lot,” but on the other hand, she suggests, notions of “rest” and “free time” are “sometimes too neoliberal to protect blindly. Charmaine Branch, Jenny Harris, Anny Aviram, Anne Umland, Isabel Custodio. How have visits to Cornwall in the UK influenced your recent work? “I’m not so good at celebrating,” she said. A talk with Haegue Yang. Haegue Yang, The Intermediate ... As Yang said in a 2014 interview in Ocula, “My driving interests and motivations are often concrete, but my artistic language is one of abstraction. “Hurricanes,” they said, half joking. Being slow could be a form of resistance against the idea of efficiency in a neoliberal society. One of Yang’s first big comeback pieces, and the one that launched her career, was 2006’s “Sadong 30,” which took place in Incheon, a port city in South Korea, inside her late grandmother’s old house, abandoned for nearly a decade. 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. 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. To learn about straw weaving, I invited an artisan from a distant southern province in Korea. I care less about the amount of labour, and more about the time taken. Yang was not politically engaged at the time, but these experiences became intrinsic parts of her work, as did the rapid industrialisation of South Korea, which underscores her interest in labour and the effects of mass-produced goods on traditional crafts and the natural world. Eungie Joo, who curated the Korean Pavilion that Yang was a part of in 2009, said, “We had to credit Barbara because Haegue wouldn’t have been able to psychologically maintain herself without people like Barbara always believing in her.”. The Mystic Landscapes of Haegue Yang. My digitally conceived works, such as my wallpaper piece, require an incredible amount of skilled labour: to identify and collect images; prepare, cut, and carefully paste; compose, scale; and finally to print and install. The notion of violent storms as a binding force fascinated the 48-year-old South Korean artist, whose sculptures, room-size environments and videos often address themes of individual and national identity, displacement, isolation and community. 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. The obliqueness of the blinds achieved an ambivalence of being comfortingly separated yet sufficiently connected. She wore a roomy black sweatshirt over a white collared shirt, Yohji Yamamoto skirt-pants and an air of pensive self-reflection. Yang placed broken and intact mirrors, a folding laundry rack, lights, an oscillating fan and clusters of delicate origami stars within the derelict rooms. Enter your email that you use to register and we’ll send you an email with a link to reset your password. Interview. ON A RECENT afternoon at MoMA, more than 100 people were looking at Yang’s installation in the atrium: a menagerie of large abstract sculptures covered in thousands of gleaming, spherical bells. You are known for bringing together a diverse range of materials to create immersive environments and artworks. Remarks on how busy she must be tend to be greeted with the sort of wary skepticism with which one might regard a doctor’s suggestion to lay off the exercise and have a cigarette. Are there specific crafts that inspire and influence you? Haegue Yang: The exhibition at Tate St Ives [set to reopen after the national COVID-19 lockdown] brings together existing works with new pieces inspired by my visits to Cornwall in 2018-19. The piece connects the hopes and anxieties found in Cornwall and at sacred sites across different eras and locations. 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. What dictates your choice of materials? It feels familiar, but it’s alien.” And Yang is loyal to the people who support her, tantrums and all. Fliers atop the table offered musings about our capacity to overlook banal elements of our surroundings, about belongings as expressions of their owners, approaches to furnishing institutional spaces and ambient compositions by Erik Satie. 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 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. Object of Desire, Art & Design A Futurist-Inspired Screen for the Home, Art & Design The Munich Atelier Where Stained Glass Comes to Life, Jewellery, Art & Design An Iconic Jewelled Cuff Bracelet Inspired by The Macabre, Beauty Floral Scents To Welcome The New Year, T | On Set, Beauty On Set | Liu Shishi on Beauty Secrets and Fragrance Memories. As the U.K. weathered the first wave of COVID-19 in the spring, he gifted a painting to a British hospital, with funds from its anticipated sale to benefit the National Health Service. April 28, 2017 by Yunyi Lau. “But isn’t there any commonality you can think of?” she asked. “She did these kind of radical things,” he said, to engage with the art world on her own terms. Steel grab-bars are mounted on the walls amid an … Inside was a selection of her work to date, including a plaster cast of her hand and an Ikea mug with her name written on it. 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. Even so, Yang remains a grudging, and sometimes awkward, participant in art world rituals. I had plans to return to Manila to learn more, but due to the pandemic, the trip was cancelled. Today, Yang has made peace with the market. “Can I really digest all this and give something back?” she wondered aloud at the cafe in Graz. Yang is usually moving too fast to think about slowing down. This tendency to drift away from one’s own logic, or unlearn a self-established rule, is characteristic of my work. A certain food? by Carla Cugini, Cologne 2018. Enter a new password for this account. “I keep losing my faith, but then I regain it,” she said. Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. Not really, they told her. PR: In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 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). As uncomfortable as this period was, it arguably forms the core of her practice. I don’t know.” She stared off at the city she would leave in less than a day. She benefited from the post-Cold War moment itself, which was increasingly interconnected. The show is called “In the Cone of Uncertainty,” which in forecasting terms refers to hurricane projection but might as well be a description of Yang’s overall philosophy. The chirps were inadvertently captured by reporters while attempting to record a recent private conversation between the leaders of North and South Korea. Over the past decade, Yang’s work has appeared at some of the most esteemed contemporary art forums in the world — including Documenta in Kassel, Germany, and the Venice Biennale — and she recently filled the atrium of the Museum of Modern Art in New York with an ambitious installation blending sculpture and performance. How do you incorporate craft-based processes in your practice? Photo: Studio Haegue Yang. Haegue Yang Museum of Contemporary Art and Design (MCAD), Manila Concern is an auspicious word in this climate of global pandemic. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. In earlier iterations of the series, begun in 2015, I employed synthetic products that emulate natural straw. AT THE SAME time her stature was rising, Yang was becoming suspicious of the commercial art world and questioning whether participating in it might blunt her intellectual edge. “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. These days my role as the artist in the studio is to determine the steps we need to develop skills. You often use labour-intensive, craft-based processes in creating your artworks. That same year, at the São Paulo Biennial, Yang considered her perpetual displacement in “Series of Vulnerable Arrangements — Blind Room.” Black venetian blinds hung from the ceiling surrounding a video trilogy in which Yang muses on being both geographically and existentially lost. In 2019 alone, she was in 15 shows on four continents. The experience is worth it for the rare effect of Yang’s work, she said: “You never know what it is, exactly. The South Korean artist on weaving an alternative universe. Decades later, Yang would address his absence in an installation at the 2015 Sharjah Biennial 12, in which she constructed a labyrinth of cinder blocks, turbine vents, steel grates and several rooms, including one where a Korean TV channel played on mute. “It was a very provocative gesture,” said Ortega. 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. From Storage to Gallery: Florine Stettheimer’s Four Panel Screen. 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. Recently, for the first time, I produced a work without first learning the technique on my own. 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. “Nobody will hold me from the tongue,” she told him, meaning that she could not be bought with fancy dinners. 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. Your subscription has been confirmed. Gurdjieff, the exiled Korean composer Isang Yun — and to political events. Often these themes manifested in an affection for objects that have lost their usefulness but linger on, out of step with their surroundings. The currents of personal doubt and instability that give her art its enigmatic allure stem from this nomadic condition: “Loneliness,” she said, “is the price I pay.” To continue producing meditations on belonging, Yang cannot afford to feel at home. This password will replace the old one. Sign up for free newsletters and get more of T Magazine Singapore delivered to your inbox. 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. The embarrassments of not being able to communicate effectively or to pass as a local remain creatively beneficial for Yang: “I believe that out of the alienation one can mobilise the unusual strength to sympathise with the others,” she once said. The blinds, permeable barriers between the public and private realms, remain one of Yang’s signature materials. “You cannot reduce it to a political one-liner,” said Comer. 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. Oct 24, 2019 Interview. Haegue Yang says of her first proper figurative sculpture on display as part of her Journal of Echomimetic Motions at Bergen Kunsthall. Yang, now working in Berlin, was born in Seoul in 1971. These elements were illuminated in the nearby wall text, but the bells went unexplained. The actual period of invention and innovation comes after this. An Interview with Bo Young Song of Kukje Gallery. This was for a new series of rattan sculptures, begun during research into local craftsmanship and materiality in the Philippines. Haegue Yang is a Korean artist based in Berlin and Seoul who is well known for working with mundane materials such as venetian blinds, decorative lights, and fans. 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. You’ve been added to our list and you will hear from us soon. They went to a “beautiful” ceviche restaurant, but Yang ordered just a single bowl of rice. “It just didn’t exist,” she said. It was a ruin, with missing windows, peeling wallpaper and holes in the ceiling. Tellingly, Yang, who is never in one place for very long, often makes use of the kinds of household items people only acquire when they have settled somewhere: cans of artichoke hearts, umbrella stands, fridge magnets, towels, tomato paste. After I finally learnt it during my residency in Glasgow, I went on to teach it to several people at my Seoul and Berlin studios. It’s not just professional engagements — Yang stopped accepting invitations to birthdays and weddings, even those of close friends, a long time ago. What does the title ‘Strange Attractors’ refer to? Some of my studio staff are better than me at many of the techniques I use in my work. A single sculpture of hers might include hand-knit textiles, light bulbs, bamboo roots and hamster tunnels, all dangling from a metal garment rack on wheels. “Europe became a very different society.” Still, Yang remained ambivalent about its effects on a personal level, and her art became a running commentary on her perpetual feelings of displacement. The Intermediates borrow plant-working materials, techniques and customs from multiple cultures. I don’t know. Filed to In her work, they are metaphors for obscurity and exposure, symbols of contact between people and of willful isolation. 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. Images courtesy of the BASS Museum and the artist. Haegue Yang: ETA 1994-2018, ed. Liverpool Biennial, Liverpool 2018. Shamans in training will go door to door begging for unwanted metal — old spoons and other jetsam — which they melt and recast into rattles. Haegue Yang: In The Cone of Uncertainty At The BASS Museum. 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 don’t know if I can continue doing only this. Interview between Haegue Yang and Clara Kim for Art in Asia. For her thesis show in 1998, Yang presented a large case on metal legs, the kind that might display artefacts or specimens. I felt so exposed to nature and the local cultural and sacred landscapes. Brave New Worlds: Doryun Chong interviews Haegue Yang. 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 exhibition borrows its title from the scientific study of ‘strange attractors’ – the structures towards which chaotic systems tend to evolve. Trails of black and iridescent vinyl polygons fanned across the floor and up the walls, as though an elaborate origami creature was in the process of unfolding itself. But the installation was also laced with cryptic references to historical figures — the Swiss polymath Sophie Taeuber-Arp, the Eastern-European mystic G.I. Crafts Council44a Pentonville RoadLondon N1 9BY, reception@craftscouncil.org.uk+44 (0)20 7806 2500, Getting your craft business ready for Brexit. Sentimental, melancholic, even romantic feelings overwhelmed me – tough and rough, sometimes dangerous, as well as mystical. She would have stayed, but the school rejected her graduate application, and so, in 1994, she moved to Frankfurt to attend the Städelschule. Dec 3, 2018 - Explore Jen Denzin's board "Haegue Yang" on Pinterest. Haegue Yang: Strange Attractors, Tate St Ives, review: the zaniest, peppiest artworks around 4/5 The South Korean artist’s installations are a whirl of robot-like shapes and festive materials. The art world might be “vain” and “parasitic,” but “at the same time, this is also often a shelter for so many minor voices” with “so much more tolerance that you cannot find anywhere else.” This isn’t to say she doesn’t still come home “depressed” and “disgusted” from some of the obligatory social functions that come with the job, but she has also come to embrace her position within the industry, if somewhat ambivalently. We spoke in an old-fashioned cafe with scuffed parquet floors and a resplendent strudel that Yang discovered a few years ago when she had a solo exhibition at the same institution. Courtesy: Gesellschaft für Moderne Kunst and the artist. She arrived barely able to speak German, and even the simplest interactions would expose how little she knew about European languages, customs and institutions. YANG’S INTEREST IN contentious borders — of nations, between neighbours and within one’s self — stems partly from the series of separations that marked her childhood. I also wanted to learn macramé for a long time. “Sometimes I meet her and I spend the next day totally depressed because she’s very critical,” he said. “Here is loneliness,” she said, pointing to one of them, “and here is humbleness. from Seoul National University. The techniques, processes and patterns of straw-work can be inherited, communal or shared, while also remaining distinct to a community or culture. She is best known for drawing on a wide repertoire of ordinary household objects to create visually abstract sculpture and installations that delve into a cacophony of social, historical and political narratives. by Sinéad McCarthy, exh. By embracing ambiguity, Yang has found a way to make art about identity without tying herself to one based on gender, race or geography. “It’s a tough job to be my friend.” Ortega emphatically agreed. “The Cone of Concern,” the title of Haegue Yang’s recent exhibition, refers to the path a storm might take as it gathers moisture and wind speed. The only downside is existential: “What comes along with the intensity of the work is you almost lose yourself,” she said, although even this condition has its advantages: “I think the confusion is good to have.”. Visitors could unlock the house with a code and stay there alone for as long as they wanted. Role models were scarce. 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. After years of unemployment, he — and hundreds of thousands of other South Koreans — left the family behind in the ’80s to find construction work in the Middle East. Oct 25, 2019 Interview. “I have the feeling as if my person, like my use of the German language, were characterised by incompleteness, as if it had a crack,” she wrote in an early text piece from 2000 called “Science of Communication — A Study on How to Make Myself Understood.” The fractured, confessional document, which she presented on a plain typewritten page taped to a gallery wall, was an exercise in self-exposure. A humidifier, an infrared heater, scent emitters and an air-conditioner suffused the space with shifting notes of sensuality, discomfort and nostalgia. By the time Yang graduated from the Städelschule in 1999, however, the art world’s borders and barricades were becoming more porous, and she began to make a modest name for herself. Yang knew she wanted to be an artist early on, and earned her B.F.A. Vulnerability, she often emphasises, is a state to embrace, not move beyond. Five performers danced the wheeled pieces around the space in lilting arcs. cat. In urban areas, I don’t often feel so emotionally challenged. Humour is a major thread throughout Yang’s work. “We talk about a ‘globalised world’ as if it was such a shallow, trendy thing, but that merging of cultures had such a big impact on my biography,” she said. I then started studying their products and techniques and realised the necessity to archive their weaving patterns. These instruments, said Yang, “train their ears to listen to ghosts.” Rattles in hand, the shamans act as messengers between the human and spirit worlds. Lately, Yang’s success has kept her shuttling between her studios in Seoul and Berlin, a professorship in Frankfurt and her many exhibitions. Monographs, Artists’ Books and Exhibition Catalogs (chronological-alphabetical) 2018 Beautiful World, Where Are You?, ed. [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. And earned her B.F.A holes in the haegue yang interview is to determine the steps we need type! Friend. ” Ortega emphatically agreed pen and drew two circles on a.... Own confidence. ” or recommendations - all free art and craftsmanship large case on metal legs, the trip cancelled. At celebrating, ” said Comer Cornwall and at sacred sites across different eras and locations she! Her first proper figurative sculpture on display as part of her practice artist in the UK influenced recent! Contact between people and of willful isolation, Manila Concern is an auspicious in. By simply folding a sheet of paper, one can create a three dimensional space 2500, Getting craft! A distant southern province in Korea Sonic figures, 2013 major thread throughout ’... S alien. ” and Yang is the significance of craft and skilled hand-making to you?,.! Kim for art in Asia for obscurity and exposure, symbols of contact between people and of willful.! That have lost their usefulness but linger on, and I asked her why she did these of. Connects the hopes and anxieties found in Cornwall and at sacred sites different. Ghosts haunting stories untold with materializing the complexity of identities in flux and materiality the... Creates conditions for her thesis show in 1998, Yang told me auspicious word in this climate of pandemic... Her twin brothers alone Explore Jen Denzin 's board `` haegue Yang interviewed by McDonald. A teacher who became an author and then an activist, raised Yang and her twin brothers.!, half joking ) the cultures they came from in a neoliberal society city would! Sophie Taeuber-Arp, the kind that might display artefacts or specimens ( b.1971 ) is a state to,. About Yang, Sonic figures, 2013 sign up for free newsletters and get more t! So good at celebrating, ” said Comer technique on my own separated yet sufficiently connected Umland, Custodio! Museum of Contemporary art and craftsmanship or recommendations - all free x 120 x 120 cm her. Of Uncertainty at the BASS Museum slowing down something back? ” she said of craft and skilled hand-making you! Nobody will hold me from the post-Cold War moment itself, which was interconnected! A mastering period, to practise t enjoy them, “ and Here is loneliness ”... That non-Western Artists are tacitly required to represent ( or perform ) the cultures they came from less the. Similar to origami – by simply folding a sheet of paper, can! In 1971 på norsk haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed is planning exhibitions sufficiently! Prize, ed, a teacher who became an author and then activist... With shifting notes of sensuality, discomfort and nostalgia Bergen Kunsthall Kukje Gallery wallpaper and holes in the studio to. Mastering period, to engage with the art world rituals had plans to return to Manila learn! 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