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Haegue Yang Forum for Drone Speech – Singapore Simulations 2019 City Hall Wing, Level 2, City Hall Foyer #haegueyang #yanghaegue #양혜규 #singaporenationalgallery An OUTBOUND commission by National Gallery Singapore Forum for Drone Speech – Singapore Simulations is inspired by the Gallery’s architecture and its connections to Singapore’s colonial past and diasporic society. The installation alludes to European neo-classical architecture, drawing on its forms to create a conversation with the former Municipal Building (now City Hall Wing). This historic building witnessed many of the nation’s milestones, including its eventual proclamation of independence in 1965. The labels on the faux marble structure playfully appropriate museological language, interweaving factual introductions of artefacts with Yang’s subjective readings of them. The viewer needs to match these labels with images ranging from Dora Gordine’s multi-ethnic bronze busts, which were first displayed at this site, to works relating to the building's history by Italian sculptor Rudolfo Nolli, and various instruments used to navigate and perceive the world. Three sculptures by Yang here appear as incongruous as the selection of artefacts, combining traditional crafts with modern industrial processes and materials. They are displayed as static museum pieces yet evoke movement and sound through bells and turbine vents, while recordings of birdsong and a speech by humanoid robot Nadine in six languages play from two loudspeakers. Forum for Drone Speech – Singapore Simulations expresses a sense that history and the present are in flux. The illusory qualities of the materials used, including faux marble, hologram prints and robotic voice, suggest that different realities are at play. This work creates an awareness of museums as spaces where objects are continually rearranged and reinterpreted to envision alternative narratives, provoking questions on identity, belongingness and engagement.
EXHIBITION The Bass Museum of Art, Miami Beach, FL November 2, 2019—April 5, 2020 BOOK LAUNCH The Bass Museum of Art, Miami. Text(s) by Silvia Karman Cubiñá, Leilani Lynch, Philippe Vergne English 2019. 112 pp., 72 ills. softcover 21.50 x 28.00 cm ISBN 978-3-7757-4629-8. #haegueyang #양혜규 #yanghaegue #thebassmuseum #hatjecantz #greenenaftali #kurimanzutto #kukjegallery #barbarawien #galeriechantalcrousel
“Umbra Creatures by Rockhole (2017-2018)” at Kunsthaus Graz, Austria #양혜규 #haegueyang #yanghaegue #kurimanzutto #kunsthausgraz #studiomanuelraeder (....) Umbra Creatures by Rockhole (2017-2018), a group of six Intermediates and a Sonic Sculpture, contains diverse objects next to the main materiality of artificial straw, such as turbine vents, bells, artificial plants, and plastic twine, with forms reminiscent of a Korean bridal crown, calabash, and serpents.
3/3 When The Year 2000 Comes, a solo exhibition by Haegue Yang, is the artist’s first exhibition at Kukje gallery, Seoul. #haegueyang #양혜규 #yanghaegue #kukjegallery #isangyun #윤이상 #ensembletimf http://www.artasiapacific.com/Magazine/WebExclusives/WhenTheYear2000Comes (....) Live performances of Yun’s “Images” (1968), inspired by his visit to the Great Tomb of Gangseo in North Korea, invoked the specter of Korea’s turbulent modern history and its impact on the avant-garde; Yun was later accused of spying for the North by the Park Chung-hee regime. The evocation of Duras brought the element of personal desire and her dichotomy of together-yet-apart that drives Yang’s reflections on ideas of communities. (...)
2/3 When The Year 2000 Comes, a solo exhibition by Haegue Yang, is the artist’s first exhibition at Kukje gallery, Seoul. #haegueyang #양혜규 #yanghaegue #kukjegallery #isangyun #윤이상 #ensembletimf http://www.artasiapacific.com/Magazine/WebExclusives/WhenTheYear2000Comes (....) Live performances of Yun’s “Images” (1968), inspired by his visit to the Great Tomb of Gangseo in North Korea, invoked the specter of Korea’s turbulent modern history and its impact on the avant-garde; Yun was later accused of spying for the North by the Park Chung-hee regime. The evocation of Duras brought the element of personal desire and her dichotomy of together-yet-apart that drives Yang’s reflections on ideas of communities. (...)
1/3 When The Year 2000 Comes, a solo exhibition by Haegue Yang, is the artist’s first exhibition at Kukje gallery, Seoul. #haegueyang #양혜규 #yanghaegue #kukjegallery #isangyun http://www.artasiapacific.com/Magazine/WebExclusives/WhenTheYear2000Comes (....) Live performances of Yun’s “Images” (1968), inspired by his visit to the Great Tomb of Gangseo in North Korea, invoked the specter of Korea’s turbulent modern history and its impact on the avant-garde; Yun was later accused of spying for the North by the Park Chung-hee regime. The evocation of Duras brought the element of personal desire and her dichotomy of together-yet-apart that drives Yang’s reflections on ideas of communities. (...)
On view until November 17th. Haegue Yang, 'When The Year 2000 Comes', 2019, installation view. Courtesy: the artist and Kukje Gallery, Seoul A Multisensory Exquisite Corpse: Haegue Yang at Seoul’s Kukje Gallery(....) Stay longer in the gallery and other voices, sounds, smells emerge. An exhibition handout presents a timeline edited by the artist, twinning the biographies of French novelist Marguerite Duras and Korean composer Isang Yun, who died within a year of each other in the mid-1990s. Titled A Chronology of Conflated Dispersion (2019), it chronicles two people navigating the rubble of war, revolution and Western imperialism, side by side, year by year, forming unexpected rhythms between their vastly different journeys. Meanwhile, birds chirrup at each other from a pair of speakers, abstracted from a recording of the third Inter-Korean summit between the leaders of North and South Korea in 2018. And strange mineral smells linger around the objects, at once earthy and medicinal. In this multisensory exquisite corpse, Yang tantalizes us with secret symbols, probing our desire for narrative mastery. (....) https://frieze.com/article/multisensory-exquisite-corpse-haegue-yang-seouls-kukje-gallery #kukjegallery #haegueyang #양혜규 #yanghaegue
HAEGUE YANG IN THE CONE OF UNCERTAINTY Until APR 5, 2020. (....) Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies. #haegueyang #양혜규 #yanghaegue #thebassmoa #galeriechantalcrousel #greenenaftali #kurimanzutto #kukjegallery #galerie barbarawien
Haegue Yang In the Cone of Uncertainty November 2, 2019-April 5, 2020 (....) The exhibition’s title is taken from a common expression, ubiquitous to South Florida, used to describe the probable track of a tropical cyclone or hurricane. Aside from this particular usage, the term alludes to an eagerness to track our largely unstable and always changing future. Referencing this meteorological model of statistics, the exhibition investigates current anxieties related to climate change, overpopulation and resource scarcity, in addition to seemingly different topics, such as movement, displacement, migration, diasporas and history writing. #haegueyang #양혜규 #yanghaegue #thebassmuseum #greenenaftali #kurimanzutto #barbarawien #galeriechantalcrousel #kukjegallery video: YEARNING MELANCHOLY RED, 2008 #calartsredcat @calartsredcat @yanghaegue
Isang Yun 윤이상 Images (1968) for flute, oboe, violin and cello Duration: 20' at Kukje Gallery, Seoul in collaboration with Tongyeong International Music Foundation. https://www.boosey.com/cr/music/Isang-Yun-Images/7310 In 1968, while Isang Yun was imprisoned in Seoul, the South Korean regime gave him permission to compose. During that time Yun worked successively on three pieces. In an unheated and drafty prison cell he completed the one-act opera Butterfly Widow (1967/68), which he had begun previously in Berlin. Upon its completion, Yun wrote Riul [Law] for clarinet and piano (1968) and Images for flute, oboe, violin and piano in a guarded hospital room into which he been transferred following a physical breakdown. Images was inspired by the frescoes in the Great Tomb of Kangso, located some 30 kilometres southwest of P'yongyang. The frescoes date back to the 6th and 7th centuries, the time of the most powerful of the Korean "Three Dynasties", the Koguryo dynasty. Yun had seen the original frescoes in 1963 during a visit to North Korea, and it was partly due to this visit that he was kidnapped from West-Berlin to Seoul by the South Korean Secret Service in 1967. #haegueyang #yanghaegue #양혜규 #isangyun #윤이상 #ensembletimf
“Handles” on view at MoMA, sculptures are activated daily at 4 pm. For the opening of The Museum of Modern Art’s expanded campus on October 21, 2019, MoMA has commissioned an installation by Yang for the Marron Atrium. Haegue Yang: Handles will feature six dynamic sculptures activated daily, dazzling geometries, and the play of light and sound to create a ritualized, complex environment with both personal and political resonance. Haegue Yang: Handles is organized by Stuart Comer, The Lonti Ebers Chief Curator of Media and Performance, with Taylor Walsh, Curatorial Assistant, Department of Drawings and Prints; produced by Lizzie Gorfaine, Producer, with Kate Scherer, Manager, Performance and Live Programs. #haegueyang #yanghaegue #양혜규 #greenenaftali #stuartcomer The exhibition is presented as part of The Hyundai Card Performance Series. Fifteen-Minute Curator’s Talk on Haegue Yang Wednesday, October 23, 3:00 p.m. MoMA
The catalog for Haegue Yang's solo exhibition “When The Year 2000 Comes” at Kukje Gallery is finally released! ⠀ #양혜규 개인전 전시도록이 출간되었습니다. 도록 구입은 삼청동 국제갤러리, 갤러리 웹사이트(해외배송), YES24, 인터파크에서 가능합니다. ⠀ 👾👾👾 Haegue Yang: When The Year 2000 Comes Kukje Gallery 2019 66 pages ISBN 979-11-89873-04-2 Text by Jinshil Lee, Walter-Wolfgang Sparrer This book is now available on our website: kukjegallery.com —⠀ #국제갤러리 #서기2000년이오면 #전시도록 #haegueyang #yanghaegue #exhibition #catalog #publication #whentheyear2000comes
Haegue Yang. Anthology 2006–2018 Tightrope Walking and Its Wordless Shadow Edited by Bruna Roccasalva Skira editore 2019 448 pages Contributions by Lars Bang Larsen, Nicolas Bourriaud, Doryun Chong, T. J. Demos, Yilmaz Dziewior, Patricia Falguières, Eungie Joo, Tom McDonough, Ute Meta Bauer, Bart van der Heide, Anne M. Wagner. ISBN 9788857239774(....)As Roccasalva explains, “The decision to structure the publication not as a traditional catalogue but as an anthology is complementary to the premises on which the exhibition is grounded. While the exhibition project comprises all of Yang’s production, albeit not philologically but through a circumscribed selection encompassing the most representative families of work, the book reconstructs all the cornerstones of her work and clearly shows its complexity and coherence by gathering together the most significant texts published so far on Yang.” Conceived in conjunction with Yang’s solo exhibition Tightrope Walking and Its Wordless Shadow at Triennale Milano last year, this volume certainly aims at being more than an exhibition catalogue in spite of extensive exhibition views, boasting those of landmark pieces since 2000. Intended to go beyond mere documentation of an exhibition, this anthology’s profound scholarship by prominent curators, writers, and art historians on Yang’s practice constitutes a valuable instrument for in-depth study on the artist. #haegueyang #yanghaegue #양혜규 #brunaroccasalva #fondazionefurla #skira @yanghaegue
✨Preview of Haegue Yang’s installation ‘Handles’ at the new MoMA✨ Opening Oct. 21 Installation view of ‘Haegue Yang: Handles’ (2019). Commissioned for the Martin Atrium by The Museum of Modern Art, New York. Haegue Yang Handles October 21, 2019–Spring 2020 MoMA (....) These monumental works come in distinctive shapes: some are inspired by the work of early 20th-century figures such as artist Sophie Taeuber-Arp and mystic philosopher G. I. Gurdjieff, and others use open-source designs for door handles to produce freestanding bodies at once futuristic and prehistoric. Mounted on casters and covered in skins of bells, the sculptures generate a subtle rattling sound when maneuvered by performers, and recall the use of bells in shamanistic rites, among other sources. Organized by Stuart Comer, The Lonti Ebers Chief Curator of Media and Performance, Department of Media and Performance, with Taylor Walsh, Curatorial Assistant, Department of Drawings and Prints; performances produced by Lizzie Gorfaine, Producer, and Kate Scherer, Manager, with Stavia Grimani, Assistant Performance Coordinator, Performance and Live Programs. This commission is presented as part of The Hyundai Card Performance Series. Photo by Denis Doorly. #haegueyang #yanghaegue #양혜규 #stuartcomer #greenenaftaligallery
Haegue Yang, Handles ✨at Atrium, MoMA #haegueyang #yanghaegue #양혜규 #moma #Stuart comer https://www.moma.org/calendar/exhibitions/5080 Handles are points of attachment and material catalysts for movement and change. Yang’s installation considers this everyday interface between people and things. Steel grab bars are mounted on the walls amid an iridescent pattern, and put to functional use in her sculptures. This commission is presented as part of The #HyundaiCard Performance Series.
#테이트모던 미술관에서는 #양혜규 작가의 블라인드 설치작이 전시 중. 2015년 삼성미술관 리움 개인전에서 처음 공개되고, 같은 해 리옹 비엔날레와 이듬해 아트 바젤에서 ‘셋으로 나뉘어’ 전시되었습니다. 이@작품은 테이트 미술관의 소장품입니다. #솔르윗뒤집기 ⠀ 👁🗨 Now On View #TateModern @yanghaegue Sol LeWitt Upside Down – Structure with Three Towers, Expanded 23 Times, Split in Three 2015, on free display at Tate Modern. Photo ⓒ Tate 2019 ⠀ #tate #tatemodern #london #yanghaegue #installation #contemporaryart #exhibition #materialsandobjects
Art Encounters Biennial in Timișoara, Romania with VIP’s Union, 2001/2019. Chairs and tables, dimensions variable. Furniture borrowed for the duration of the exhibition from influential people from Timișoara in the fields of science, education, culture, social work, and sports, among others. Courtesy of the artist. Photo: Art Encounters Biennial. #yanghaegue #art.encounters #haegueyang #양혜규 #marialind
양혜규의《서기 2000 년이 오면》전시 연계 프로그램으로 지난 토요일, 통영국제음악재단 TIMF앙상블의 윤이상 <영상> 연주가 진행되었습니다. 이 곡은 작곡가 윤이상(1917-1995)이 1963년 북한 방문 당시 접한 강서대묘 고분벽화 사신도(四神圖) 속 상상의 동물들을 음악으로 형상화한 사중주입니다. 전시기간 동안 앞으로 2번의 공연이 예정되어 있습니다. 윤이상 <영상> 연주(20분) - 10월 19일(토), 11월 16일(토) 오후 3시 #국제갤러리 K3 - 통영국제음악재단과의 협업으로 이루어집니다. - Cond. 백윤학(Yoonhak Baek) / Flute 이지영(Jiyong Lee) / Oboe 김소연(Soyoun Kim) / Violin 함지민(Jimin Ham) / Cello 오주은(Joo Eun Oh) Isang Yun's "Images" (20 min.) - 3 pm, October 19, November 16, 2019 #Kukje Gallery K3 - In collaboration with Tongyeong International Music Foundation #haegueyang #양혜규 #yanghaegue