haegue yang tate
Jan 12 2021 4:42 AM

Her sculptures and installations often use industrially made objects, interwoven with labour-intensive and craft-based processes. If connoisseurship was already thought to have an “antique ring” as early as 1950, this tendency would only increase, to the detriment of Kenneth Clark’s reputation. 203 x 120 x 120 cm. This autumn Tate St Ives will stage Strange Attractors, the UK’s largest exhibition to date by celebrated South Korean artist Haegue Yang. Why are they there? Haegue Yang was born in 1971 in Seoul, South Korea and currently lives and works between Berlin and Seoul. Haegue Yang has created an immersive environment for her sculpture series The Intermediates (2015-ongoing) in … This one Yang has copied, and accompanied it with other similarly cosmic themed companions. Here, Yang has assembled some of her characteristic domestic elements, the choreographies of which entail folding and unfolding – venetian blinds and laundry racks are a recurring motif. Haegue Yang: ETA 1994–2018, 2018 Wolfgang Hahn Prize, ed. 4 minutes read. At Tate Liverpool, new and existing works are presented by artists Kevin Beasley, Dale Harding, Brian Jungen, Duane Linklater, Annie Pootoogook, Joyce Wieland and Haegue Yang. “These are scenes that might conjure up the landscape around here, but they are also universal. Non-Indépliables, nues, 2010-20. Courtesy of Galerie Barbara Wien, Berlin. Neue Luxury • Art • News •, Neue Luxury • Art • News •, Neue Luxury • Art • Feature • BY Neue Luxury. Six of Yang’s Sonic Half Moons (2014-15), complete with drooping, bell-strung tendrils, rise up to the ceiling between and around these frames, their physical placement and context giving them a half-celestial, half-aquatic, drifting quality (apparently the gallery assistants will give them a spin now and again, so their delightful tinkling skirts can be heard and seen, spinning around). The show coincides with the 65th anniversary year of the launch of Britain’s pioneering National Health Service in 1948. These processes reflect pagan cultures and their deep connection with various seasonal rituals in relation to natural phenomena. Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. Craft + Design Centre and acclaimed Italian design consulting studio Mr.Lawrence, together with 1+1 Design Gallery, Milan, will present the collective exhibition. Haegue Yang: Strange Attractors is curated by Anne Barlow, Director of Tate St Ives, with Assistant Curator Giles Jackson. Those unfamiliar with the Berlin-based, South Korean artist’s work might experience a moment of panic – a realisation that, whatever cultural encounter is being laid before your startled eyes, you don’t speak this language; followed by a frantic recalibration of visual and associative sensibilities. With additional support from Kvadrat, Tate Members and Tate St Ives Members. by Carla Cugini, Cologne 2018. Installation view of Haegue Yang Sonic Half Moon Types 2014-15 at Tate St Ives, 2020. The collection is named Mundus Cushion – Yielding X (2020), and they are intended to reflect our worries and wishes for the world around us. All rights reserved. Sonic Intermediate – Parameters and Unknowns after Hepworth 216 x 125 x 125 cm. cat. Arthur Lanyon for Private Client, Oxford 2019. Her sculptures and installations often use industrially made objects, interwoven with labour-intensive and craft-based processes. Haegue Yang, Installation view of The Great Acceleration, Taipei Biennial 2014, Taiwan, 2014. The exhibition, which will be Yang’s largest to date in the UK, includes examples of her widely known household items, such as light bulbs, brooms and drying racks. They can be flat or three dimensional, opaque or transparent, compressed or expanded. Haegue Yang 양혜규 梁慧圭 / Liverpool Biennial 2018 309 views 7 months ago Installation view of Beautiful world, where are you?, Liverpool Biennial, Tate Liverpool, 2018 Studio International is published by: The exhibition is taking over the entire Tate St.Ives building, occupying top-lit gallery in the new building and the suggestive … The architectural wall surfaces are also treated in three different modes: wallpapered, patterned with door knobs, and empty. Lorenz devised a shape for this chaos theory, which resembles a butterfly; and a large mirrored sculpture represented within the wallpaper evokes that very butterfly, while, elsewhere, graph paper sections and curving sine waves presumably represent the art of plotting and mapping. Haegue Yang. Copyright © 1893–2021 Studio International Foundation. One of the leading and most significant artists of her generation, Yang moved to Germany in 1994 to study at the renowned art school Städelschule, where she received a Meisterschüler. Haegue Yang: Strange Attractors is curated by Anne Barlow, Director of Tate St Ives, with Assistant Curator Giles Jackson. The title Studio International is the property of the Studio International Foundation and, together with the content, are bound by copyright. To enter the main gallery of Haegue Yang’s three-room exhibition at Tate St Ives is to encounter an alien landscape. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. To enter the main gallery of Haegue Yang’s three-room exhibition at Tate St Ives is to encounter an alien landscape. Born in South Korea in 1971, Haegue Yang is based in Berlin and Seoul and teaches at the Städelschule in Frankfurt am Main. Haegue Yang: ETA 1994-2018, ed. Marc and Annette Kemmler Collection. Artificial straw, powder-coated steel frame, powder-coated mesh, casters, 203 x 120 x 120 cm. It will be accompanied by a catalogue published by Tate Publishing and designed by Berlin-based Studio Manuel Raeder, as well as a programme of talks and events in the gallery. Supported by Henry Moore Foundation and Institut für Auslandsbeziehungen. I never stop inventing from what I see’, Shaping the World: Sculpture from Prehistory to Now – book review, Genesis, a floating church, by Denizen Works, Cybernetic Serendipity: The Computer and the Arts, Brian Dawn Chalkley: The Untold Depth of Savagery, Katharina Grosse – interview: ‘My eyes are my most important tools’, Emma Nicolson of Inverleith House: ‘Art institutions can highlight the devastating effects humans have had on the planet’, Trulee Hall – interview: ‘When I say “whore”, I wouldn’t say that it’s a bad word’, Exercising Freedom: Encounters with Art, Artists and Communities, Monica von Schmalensee – interview: ‘Architecture is an instrument for creating a better quality of life’, Susie MacMurray – interview: ‘A feather is never just a feather, and a fishhook is never just a fishhook’, Emily Jacir – interview: ‘I wanted the locals to show me what was important for them, what they thought I should see, what they wanted to talk about’, London’s Arts Labs and the 60s Avant-Garde, Eleanor Bartlett – interview: ‘When you see a great lump of tar, it’s like looking at a fundamental building block of the universe’, Toulouse-Lautrec and the Masters of Montmartre, Ali Kazim – interview: ‘When I picked up a pottery shard and it had some imprint of the potter, it was a sort of time travelling key for me’, Arik Levy and Zoé Ouvrier – interview: ‘We definitely influence each other in many ways – some we know about and many we don’t’, Nicole Eisenman: Where I Was, It Shall Be, Ann Veronica Janssens — interview: ‘I try to make visible the invisible, to work with the limits’, María Berrío: Flowered Songs and Broken Currents, Royal Academy of Arts Summer Exhibition 2020, Tim Clark – interview: ‘This set of Hokusai’s drawings is a really important piece of the jigsaw’, Billie Zangewa – interview: ‘I realised that I had chosen to embody the most disempowered human form’, Christina Quarles – interview: ‘These works are holding onto that slow-fast contrast of a physically still world and this mental chaos’, Not Without My Ghosts: The Artist as Medium, Huma Bhabha – interview: ‘The more complicated and layered the work is, the better for me’, Stuart Whipps: If Wishes Were Thrushes, Beggars Would Eat Birds, Michael Schmidt Retrospective: Photographs 1965-2014, Krištof Kintera – interview: ‘Humour helps us to survive’, Dana Schutz: Shadow of a Cloud Moving Slowly, Alexandre da Cunha – interview: ‘All my work is about combining things and making them have a conversation, or sometimes an argument’, Ayako Suwa: Taste of Reminiscence, Delicacies from Nature, Pamela Phatsimo Sunstrum – interview: ‘I needed to put my own body on the line if I was going to be asking a figure to carry a story or particular politics’, Toby Ziegler: The sudden longing to collapse 30 years of distance, Craig Gough – interview: ‘Improvisation in painting is a lot like jazz’, Jacqueline Poncelet – interview: ‘Uncertainty is all right; it gives us an opportunity to look again and think again’, Emma Critchley – interview: ‘Being underwater where everything completely shifts interested me’, En plein air: art in the time of pandemic, Alberta Whittle – interview: ‘No one can find Barbados on a map, whereas everyone can find the UK. 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