Haegue Yang Libri

Haegue Yang’s artworks are celebrated for their diverse media and methods, as well as their captivating sculptural language of conceptual abstraction. Her work often stems from research on historical figures and events, along with explorations of folk and traditional craft techniques. The solo exhibition at The Bass showcases new and existing pieces from the past decade, emphasizing Yang's ongoing curiosity about the world and her experimentation with the complexities of identity politics. The accompanying publication features a substantial selection of her oeuvre, including blind installations, anthropomorphic works, light sculptures, and an expanded focus on her mural-like graphic wall pieces. Born in Seoul in 1971, Yang currently resides and works in Berlin and Seoul. Since 2017, she has served as a Professor at the Städelschule in Frankfurt am Main. Her work has been showcased in numerous international exhibitions, including the Venice Biennale, documenta in Kassel, Centre Pompidou in Paris, and Museum Ludwig in Cologne. A solo presentation at MoMA New York is set to open in October 2019. The exhibition at The Bass Museum of Art in Miami Beach runs from November 2, 2019, to April 5, 2020, with a book launch on December 3, 2019, and a book signing at Barbara Wien gallery in Berlin on January 18, 2020.

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.

This publication accompanies Haegue Yang’s solo exhibition at La Panacée – MoCo in Montpellier. Chronotopic Traverses features unexpected arrangements of Yang’s versatile sculptures set against a panoramic wallpaper titled Incubation and Exhaustion (2018, in collaboration with Manuel Raeder). The immersive experience is enhanced by the scent of pepper leaves and a 30-minute recording of bird sounds from the April 2018 inter-Korean summit in the Korean Demilitarized Zone. The exhibition intertwines organic and artificial elements to explore themes of time and space. With a preface by Nicolas Bourriaud, the publication documents the exhibition and includes Yang’s text-based work, A Chronology of Conflated Dispersion – Duras and Yun (2018), which merges biographical facts of French writer Marguerite Duras and Korean composer Isang Yun. Despite lacking historical or personal connections, their narratives resonate with themes of colonialism, the Cold War, and various social and political upheavals. Additionally, the publication features a brief index of Yang’s wallpapers and mural-like pieces, enriching the understanding of her artistic practice.