Haegue Yang (Heike Jung)

TypeFemale
Artist
Associated person(s)
URLsArtist's page (en)
Wikipedia (de)
Wikipedia (en)
Documentation kurimanzutto (en / es)


Awards
Award2018Wolfgang-Hahn-Preis KölnGesellschaft für Moderne Kunst am Kölner Museum LudwigCologne (DE)The Wolfgang Hahn Prize Cologne is an award that has been given annually by the Society for Modern Art at the Museum Ludwig in Cologne since 1994. The prize money is € 100,000.
Award2001Maria Sibylla Merian-PreisHessische Ministerium für Wissenschaft und KunstWiesbaden (DE)Between 1994 and 2009, the Hessian Ministry for Science and Art awarded women artists with the Maria Sibylla Merian Prize. The prize was endowed with 15,000 euros and could be divided.


Exhibitions
Solo exhibition2018Haegue Yang, ETA 1994-2018Museum LudwigCologne (DE)
Solo exhibition2017Haegue Yang, Silo of Silence – Clicked CoreKINDL – Centre for Contemporary ArtBerlin (DE)
Solo exhibition2016Haegue Yang, Lingering NousCentre PompidouParis (FR)
Group exhibition2012Haegue Yang, Installationdocumenta 13Kassel (DE)https://www.cicero.de/kultur/documenta-kassel-koreanerin-haegue-yangs-gefuehlsimplosionen/51317


Publications
Monography2018Verlag der Buchhandlung Walther KönigHaegue YangChristina Végh und Yilmaz Dziewior978-3-96098-418-4 Carla Cugini


2018
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Places of residence

Berlin / Seoul, Germany / South Korea
Haegue Yang lives and works in Berlin and Seoul.

2018
1999
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Education

Frankfurt am Main, Germany
Master class student with Georg Herold, Städelschule Frankfurt

1999
1994
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Education

Seoul, South Korea
graduated from the Fine Arts College of the Seoul National University (Bachelor of Fine Arts)

1994
1971
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Born

Seoul, South Korea
Daughter of the writer Misoon Kim and the journalist Hansoo Yang

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)

 

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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