Haegue Yang (Heike Jung)

ZuordnungKünstler_in
Frau
Verbundene Person(en)
URLsWikipedia
Website Künstler_innen
Dokumentation


Auszeichnungen
Preis2018Wolfgang-Hahn-Preis KölnGesellschaft für Moderne Kunst am Kölner Museum LudwigKölnDer Wolfgang-Hahn-Preis Köln ist eine Auszeichnung, die von der Gesellschaft für Moderne Kunst am Kölner Museum Ludwig seit 1994 jährlich vergeben wird. Das Preisgeld beträgt € 100.000.
Preis2001Maria Sibylla Merian-PreisHessische Ministerium für Wissenschaft und KunstWiesbadenMit dem Maria Sibylla Merian-Preis zeichnete zwischen 1994 und 2009 das Hessische Ministerium für Wissenschaft und Kunst Künstlerinnen aus. Der Preis war mit 15.000 Euro dotiert und konnte geteilt werden.


Ausstellungen
Einzelausstellung2018Haegue Yang, ETA 1994-2018Museum LudwigKöln, Deutschlland
Einzelausstellung2017Haegue Yang, Silo of Silence – Clicked CoreKINDL – Centre for Contemporary ArtBerlin, Deutschland
Einzelausstellung2016Haegue Yang, Lingering NousCentre PompidouParis, Frankreich
Gruppenausstellung2012Haegue Yang, Installationdocumenta 13Kasselhttps://www.cicero.de/kultur/documenta-kassel-koreanerin-haegue-yangs-gefuehlsimplosionen/51317


Bibliograpie
Monographisch2018Verlag der Buchhandlung Walther KönigHaegue YangChristina Végh und Yilmaz Dziewior978-3-96098-418-4 Carla Cugini


2018
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Wohnorte

Berlin/Seoul
Haegue Yang lebt und arbeitet in Berlin und Seoul.

2018
1994 - 1999
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Ausbildung

Seoul/Frankfurt, Deutschland
1994 schloss sie das Fine Arts College der Seoul National University in Seoul mit dem Bachelor of Fine Arts ab, 1999 war sie Meisterschülerin an der Städelschule in Frankfurt am Main bei Georg Herold.

1994 - 1999
1971
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Geboren

Seoul, Südkorea
Haegue Yang wurde 1971als Tochter der Schriftstellerin Misoon Kim und des Journalisten Hansoo Yang geboren.

1971

Haegue Yang was born in 1971 in Seoul, South Korea, and received her BFA from Seoul National University. In the late 1990s, she moved to Germany, where she earned an MFA from the Städelschule Frankfurt am Main. Traversing a wide range of media, from collage to performance, Yang’s body of work often features quotidian and domestic found objects ranging from tea cozies to cans of Spam. The artist dissociates such materials from their original contexts, rearranging them into abstract compositions that build upon a unique and personal visual vocabulary. By including perceptual effects generated with the help of heaters, electrical fans, and even scent diffusers, Yang frequently stages multisensory environments, which—together with the mundane objects—become meditations on labor, emotional connection, and dislocation, replete with references to various moments of abstraction throughout art history.

Recognizable motifs recur throughout Yang’s oeuvre, including Venetian blinds; the artist’s first work to feature the slats was Series of Vulnerable Arrangements—Blind Room, which made its debut in 2006 at the São Paulo Biennial. Yang’s series of blinds, arranged into offset planes and set on casters, later appeared at The Tanks at Tate Modern in 2012; these pieces also featured performers who rolled around and interacted with the sculptures in a reference to the choreography in Bauhaus artist Oskar Schlemmer’s modernist Triadisches Ballett( 1922). In interviews, Yang has discussed the concept of “permeability to perception” offered by Venetian blinds, which have also appeared as elements of her installations at Documenta (2012) and the Venice Biennale (2009).

Yang often explores sociopolitical concerns, and her oeuvre includes the installation Multi Faith Room (2012), which drew inspiration from generic airport prayer rooms designed to serve adherents of all religions. More recently, she has embraced additional mediums and techniques. While on an artist residency in Glasgow, she produced large-scale macramé sculptures that were accompanied by an iPod soundtrack that the artist listened to while making the work. Subsequent pieces—like Sonic Half Moon Type III—Medium Light #18and Lunar Eclipse Type X—Medium Ultralight #24, both made in 2014—are forms comprising hundreds of small metal bells, which ring in unison when repositioned.

https://www.guggenheim.org/artwork/artist/haegue-yang (1. 11. 2018)

Besondere MerkmaleKinetische Kunst
Fokus: Transluzente Materialien
Fokus: Nicht-visuelle Lichtwirkungen
Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion photo Accommodating the Epic Dispersion – On Non-cathartic Volume of Dispersion 2012 Haegue Yang 
Dress Vehicle – Yin Yang photo Dress Vehicle – Yin Yang 2012 Haegue Yang