Haegue Yang Livres

This publication is printed on the occasion of Haegue Yang’s solo exhibition of the same title at La Panacée – MoCo in Montpellier. Chronotopic Traverses brings together unexpected arrangements of Yang’s versatile sculptures of various materials against a backdrop of a panoramic and dramatic wallpaper titled Incubation and Exhaustion (2018, in collaboration with Manuel Raeder). The sense of being immersed is omnipresent, through the scent of pepper leaves and stems in every corner of the exhibition spaces and a 30-minute long recording of bird sounds that originated from the April 2018 inter-Korean summit in the Korean Demilitarized Zone. Interwoven by both organic and artificial elements, the exhibition attempts to cross time and space. With a preface by Nicolas Bourriaud, the publication not only documents the exhibition, but also contains the full length of a text-based work by Yang, A Chronology of Conflated Dispersion – Duras and Yun (2018), in which Yang literally merged subjectively summarized biographical facts of two figures, namely the French writer Marguerite Duras (1914–1996) and the Korean composer Isang Yun (1917–1995). Though the artistic biographies are without historical or personal connections, both run dramatically alongside the sequences of colonialism, the Cold War, as well as various social ruptures and political conflicts. This publication also includes a brief index of Yang’s wallpapers and mural-like pieces.

Haegue Yang’s artworks are known not only for their diversity of media and methods, but also for their eloquent and seductive sculptural language of conceptual abstraction, often derived from her research on figures and events throughout history, as well as inquiries on the notion of folk and traditional craft techniques. Bringing together new and existing works spanning the last decade, Haegue Yang’s solo exhibition In the Cone of Uncertainty at The Bass foregrounds the artist’s consistent curiosity about the world and tireless experimentation with materializing the complexity of identity politics and their ever-changing parameters. Its companion publication highlights a substantial selection of Yang’s oeuvre, including blind installations, anthropomorphic works and light sculptures, with an expanded focus on her growing series of mural-like graphic wall pieces. HAEGUE YANG (*1971, Seoul) lives and works in Berlin and Seoul. Since 2017 she has been Professor at the Städelschule in Frankfurt am Main. Her work has been included in numerous exhibitions internationally, such as the Venice Biennale; documenta, Kassel; at Centre Pompidou, Paris; and at Museum Ludwig, Cologne. Her solo presentation at the MoMA New York will open in October 2019. EXHIBITION The Bass Museum of Art, Miami Beach, FL November 2, 2019—April 5, 2020 BOOK LAUNCH The Bass Museum of Art, Miami Beach, USA December 3, 2019 BOOK SIGNING Barbara Wien gallery & art bookshop, Berlin 18.01.2020 – 4–6pm HAEGUE YANG (*1971, Seoul) lives and works in Berlin and Seoul. Since 2017 she has been Professor at the Städelschule in Frankfurt am Main. Her work has been included in numerous exhibitions internationally, such as the Venice Biennale; documenta, Kassel; at Centre Pompidou, Paris; and at Museum Ludwig, Cologne. Her solo presentation at the MoMA New York will open in October 2019.

In 2018, the Gesellschaft für Moderne Kunst awarded the Wolfgang Hahn Prize to Haegue Yang. On this occasion, the Museum Ludwig is presenting Haegue Yang: ETA 1994-2018, the artist's first survey exhibition, featuring the diversity of her entire oeuvre. Over 120 works are on view: from small objects created in the 1990s to lacquer paintings, photographs, works on paper and video, anthropomorphic sculptures, performative pieces, as well as large-scale installations. The Museum Ludwig has also published a catalogue raisonné, which includes images of all 1,444 of the artist's works. The present publication is designed as a tour through the exhibition and complements the catalogue raisonné published by the Museum Ludwig. Exhibition: Museum Ludwig, Köln, Germany (18.04. - 12.08.2018).

This book is printed on the occasion of Haegue Yang´s nine-month presentation of VIP´s Union at Kunsthaus Graz, which unfolded in two phases: furniture on loan by private individuals, widely used throughout the building (phase I), collected and presented in one of the exhibitions spaces by altering their status from (usable) furniture to exhibits (phase II). VIP´s Union at Kunsthaus Graz followed mutations of the project at Art Forum Berlin (2001), Arnolfini, Bristol (2011), M HKA – Museum of Contemporary Art Antwerp, Belgium (2014), Bonner Kunstverein, Bonn (2014), Leeum, Samsung Museum of Art Seoul (2015). Genealogy, reference projects, texts by Nav Haq, Kathrin Bucher Trantow, Barbara Steiner, and an interview with Haegue Yang provide multiple views on the many years project.

This comprehensive catalogue raisonné documents and depicts Yang’s entire oeuvre, from early action-based objects to lacquer paintings, photographs, works on paper and video, anthropomorphic sculptures, performative works, and large-scale installations with venetian blinds. The abbreviation ETA is internationally recognized as meaning “estimated time of arrival,” among other things, and points to an artistic career in transit and the constant itineracy of an artist who has exhibited internationally since 1994.

This book is printed on the occasion of Haegue Yang's nine-month presentation of "VIP's Union" at Kunsthaus Graz, which unfolded in two phases: furniture on loan by private individuals, widely used throughout the building (phase I), collected and presented in one of the exhibitions spaces by altering their status from (usable) furniture to exhibits (phase II). "VIP's Union" at Kunsthaus Graz followed mutations of the project at Art Forum Berlin (2001), Arnolfini, Bristol (2011), M HKA? Museum of Contemporary Art Antwerp, Belgium (2014), Bonner Kunstverein, Bonn (2014), Leeum, Samsung Museum of Art Seoul (2015). 00Exhibition: Kunsthaus Graz, Austria (23.06.2017 - 28.01.2018)

An Opaque Wind documents a site-specific installation of the same title commissioned by and exhibited at Sharjah Biennial 2015. An Opaque Wind (2015) took the intertwined geo-economic involvement of the Korean state-driven economy in the Gulf region since the 1970s as a starting point. It reflects upon the progress-driven heavy industrialization that has engaged many Korean workers (mostly male) to construct the urban and oil infrastructure that constitutes today?s ecology in both territories. Composed of seemingly unrelated common construction materials, such as rusting beams, used air conditioners, turbine vents, bricks, concrete blocks, and corrugated metal sheets, combined with other locally sourced traditional elements from the site, like areesh roof and mats, and coral stones, the installation oscillates between transparency and opacity, openness and impenetrability, past and present, suggesting a commonly shared past of the geo-economic trajectory of industrialization juxtaposed with layers of reconstruction of Sharjah?s early settlement as situated within the heritage village.What is striking is the use of industrial vents to visualize the immaterial element of the piece, namely wind.This element is also found in Sharjah?s traditional wind towers as natural cooling systems in buildings, and wind is also an invisible metaphor for a hidden tie between the history and regions that remain remote and exotic to each other.

Mit der Publikationsreihe how to write feiern wir das 25-jährige Bestehen der Galerie und Buchhandlung Wien Lukatsch (eröffnet am 10. Mai 1988 in Berlin). Publikationsreihe mit Texten von Künstlern. Haegue Yangs Text Bathroom Contemplation wurde 2001 zum ersten Mal publiziert. Es ist ein tagebuchartiger Dialog ziwschen ihr und ihrer Mutter, der bei einem Beusch der Mutter in Deutschland entstand.