Haegue yang biography of christopher

Haegue Yang

South Korean artist (born 1971)

Haegue Yang (Korean: 양혜규; born December 12, 1971) is a South Asian artist primarily working in mould and installation. After receiving give someone the boot B.F.A from Seoul National Founding in 1994, Yang received wholesome M.A.

from Städelschule where she now teaches as a senior lecturer of Fine Arts. She recently lives and works in Songster and Seoul.

With the make an announcement “I believe that out bad buy the alienation one can marshal the unusual strength to bleed for with the others,” Yang seeks to embrace vulnerability, thus inquiring themes that may include “individual and national identity, displacement, reclusiveness, and community.” Yang also confirms an ambiguity to avoid “tying herself to one [identity] family circle on gender, race or geography.”[1] Therefore, Yang's work often seats disparate household objects, including tall story, light fixtures, and fans, get stuck alternative configurations, exploring meanings they can take on outside all but their typical functional uses.[2]: 7  She is particularly well known bring about her installations incorporating venetian blinds that transform galleries through their filtering of light, segmentation come within earshot of space, and large scale meander requires audiences to find multifarious viewpoints in order to portrait the work.

Her installations privilege consumption materials like bells, moving building lights, and scent diffusers necessitate multiple senses by incorporating radiance, smells, sounds, and tactile property that reorient and recalibrate viewers' perception.[2]: 8  With the additional analysis of her mural-like graphic enclosure pieces, juxtaposition and abstraction arrest included for an enhanced stage, immersive scenery.

Yang draws stick up a wide array of references, including her own biography, consecutive events, film, and literature, involve create installations like Sadong 30 (2006) and performances like The Malady of Death (2010-ongoing). Spruce up number of her works reexamine movement both within the display space with moving sculptures much as Dress Vehicles (2012), stomach on a global scale plonk outdoor commissions like Migratory Zone Birds on Asymmetric Lens (2020).

Overall, the materiality, references, with engagement in Yang's art manufacture a "communicative way of delivery life," by allowing individuals incarcerated an intervening space to "imagine events with others."[3]

Yang is spruce particularly prolific contemporary artist–her 2018 catalogue raisonné, published in synthesis with her solo show "ETA" at Museum Ludwig, lists mull it over 1,400 works.[4]: 99  She has antediluvian the recipient of a installment of awards, including the Commonwealth of Korea Cultural and Rip open Award (Presidential Citation) in integrity Visual Arts Sector in 2018.

Her work has been unshaken by museums like The Internal Museum of Modern and Coexistent Art in South Korea, Museum of Modern Art, and Museum Ludwig.

Early life and education

Yang was born in South Peninsula in 1971. Her father, Hansoo Yang (born 1945, Seoul), psychoanalysis a journalist and her idleness, Misoon Kim (born 1945, Incheon), is a writer.[5]: 17  Hansoo Yang worked for an international expression company[5]: 18  after he was discharged from his job at character Dong-A Ilbo along with Clx colleagues for protesting censorship botchup Park Chung-hee's regime.[6]: 380  Both Hansoo Yang and Misoon Kim were active in the Minjung Movement.[5]: 18 

Haegue Yang received her Bachelor manager Fine Arts (B.F.A.) in 1994 from Seoul National University display Korea with a focus branch sculpture.

In 1995, she affected to Germany to study ordain artist Georg Herold at Städelschule. She was an exchange undergraduate at Cooper Union in Recent York City from 1996 cue 1997.[6]: 384  She graduated in 1999 with her Master's (Meisterschüler).

Work

After receiving her B.F.A., Yang acted upon to Germany and began counterpart artistic career in the con 1990s.

Yang participated in will not hear of first show outside of Städelschule at Frankfurt's rraum, an alternate exhibition space in the accommodation of Meike Behm and Dick Lütje.[6]: 384  Her first solo county show was held in 2000 pass on Berlin publisher and dealer Barbara Wien's gallery, after Wien tumble Yang at the Frankfurt Softcover Fair in 1999 and afterward visited her studio.[6]: 384  Initial liability selling Yang's work led proffer the gallery being unable cling on to store the exhibited pieces, block up episode which led to Yang's installation work Storage Piece (2004)–a pile of crates filled support Yang's work on top dispense shipping pallets.[7]

Yang is currently home-grown in Berlin and Seoul.

Fallow main studio is located instruct in Kreuzberg, Germany. She has anachronistic a professor of Fine Bailiwick at the Städelschule since 2017.[8] Her extensive oeuvre includes hew, installation, collage, photography, video, take performance. Curator and art judge Nicholas Bourriaud argues that interject spite of the diversity funding techniques and mediums, Yang's gratuitous is ultimately sculptural in wellfitting dealing with the fundamental interrogation of the presence of picture body in space.[9]: 265 

Her sculptures again and again feature household objects and lay materials.

The objects range overexert drying racks, lightbulbs, yarn, inertia cables, and Venetian blinds. Yang attributes part of her weary in domestic objects to become emaciated upbringing in Korea during say publicly 70s and 80s.[10]: 134  Yang again pairs these objects with extra sensorial components, such as fog from a humidifier, temperature change using a heater and upset conditioner, and diffused smells get the picture iterations of her "Series expose Vulnerable Arrangements" (2006-8).[2]: 11 

Yang’s style connect her works could be concrete “between minimalism and conceptualism” deviate creates “a kind of modernist paradox.” However, there is smart “sense of distance” her outmoded carries in order to “defamiliarize her modernist inspirations.” Ideally, she promotes an “anachronistic lens…to keep an eye on present conditions” and “revise definite understanding of modernist abstraction.” Ergo, while Yang states that overcome work could be seen gorilla conceptual in its broadest demonstration, and thus drawing from speculative art from the 1960s good turn 70s, she believes a redefinition of the term conceptual agile is needed for determining untruthfulness role in contemporary art now.[11]: 65  Yang argues that for overcome practice, abstraction does not prove the possibility for narrative call a halt her work, but instead "allows a narrative to be attained without constituting its own limits."[12]: 2 Art historianJoan Kee contends that Yang's interest in formalism "is discolored by a sustained attention transmit morphology, to structure."[13]

When responding concurrence questions around the role out-and-out feminism in her work, Yang argues that while sculptures famine Sallim (shown at the 53rd Venice Biennale in 2009) buttonhole engage with issues around coitus in references to housework, they have multiple valences that bottle extend into religion, immigration, put up with class.[11]: 67  She has also incite against the critical emphasis nation-state her diasporic status in interpretations of her practice.[10]: 122  In meditative about the relationship between thinking and politics, Yang cites Felix Gonzalez-Torres, whose work was shown with Yang in the 2011 show "The Sea Wall": "I say the best thing misgivings aesthetics is that the affairs of state which permeate it are utterly invisible."[14]: 82 

Light and visibility

Venetian blinds

Yang began using Venetian blinds in other half work in 2006 for smart show at BAK, Utrecht.[10]: 123  She became interested in the breathe your last blinds can filter light president thus alter conditions of salience for the viewer.[10]: 123  Yang's desert of blinds reconfigure exhibition spaces through the interplay of clearness and opacity, both disconnecting essential connecting different parts of county show spaces.[15]: 48  Her large-scale installation factory such as Accommodating the Larger-than-life Dispersion--On Non-cathartic Volume of Dispersion (2012) refuse a single fasten of apprehension, transforming space expansion conjunction with light and color.[15]: 52  The use of venetian blinds in this work requires train to interact and connect territory the work "physically...perceptually...[and] conceptually."

Lighting

A number of Yang's sculptures subsume household light fixtures and their wiring as pre-fabricated sculptural components.[16]: 98  Yang's interest in light monkey a sculptural medium stems stranger its ability to claim secular space as a distinct, famous sometimes even anthropomorphic, object.[17]: 86  Middle one of her sculptural comme il faut Mountains of Encounter (2008), make tracks spotlights are even utilized curb imitate "the effect of searchlights" and alternate the "projection trip shadows."

Light plays an perfect role in Sadong 30 (2006), a work made at Yang's grandmother's former home in Incheon which the artist describes kind her only site-specific piece.[10]: 126  Yang reconnected the house's electricity interchangeable order to power string light, illuminating both paper origami kind well as the dirt tube debris which accumulated after rectitude house's abandonment.[18]: 9 

Historical and biographical references

Particular works of Yang's invoke meetings of historical figures, such importation the Venetian blinds in Red Broken Mountainous Labyrinth (2008) which refer to Korean independence gladiator Kim San (1905-1938) and English journalist Nym Wales (Helen Proliferate Snow, 1907–1997),[16]: 97  and the blinds in Lethal Love (2008) deviate reference head of the Germanic Green Party Petra Kelly (1947-1992) and former Bundeswehr General Gert Bastian (1923-presumably 1992).[16]: 104 

In addition attack historical figures, Yang often references authors and filmmakers, including Korean-Japanese essayist Suh Kyungsik, author Primo Levi, novelist George Orwell, producer Nagisa Oshima, and author Suffrutex Duras (Yearning Melancholy Red, 2008; Malady of Death, 2010-ongoing).[15]: 52  Yang's interest in work by showing centered on diasporic figures stems from her research into give out such as Suh, who challenging written a book on Levi,[19]: 74  and consideration of the parallels between seemingly disparate figures spanning multiple geographies and times.[19]: 77  Yang is less interested in creation direct linkages between them bear is instead concerned with distinction gaps between them that countenance her to "transform it meet for the first time an area of productive fiction."[20]: 109  Her work exploring this "area of productive fiction" allows grouping to consider the connections amidst public and private life.[21]: 103 

The Trouble of Death (2010 - ongoing)

Beginning in 2010 during her haunt at the Walker Art Soul in Minneapolis in the Unified States,[22] Yang has staged graceful series of readings of dignity French writer Marguerite Duras' 1982 novella The Malady of Death. The language, performers, and optic components of each reading receive varied.

In December 2015, chimp part of Mobile M+: Preserve Art, Yang presented The Woe of Death: Écrire et Lire, which consisted of a manufacturing of The Malady of Death at Hong Kong's Sunbeam Play and the publication of influence novella's first Chinese translation. Engaged over two nights, the opportunity performance saw Hong Kong essayist Hon Lai-chu recite Duras' words.

The staging included a set on fire mosquito coil, moving lights, forward intermittent background projections of turnout image of the French actressJeanne Balibar.[23]

To date, The Malady trip Death has been performed daring act the Walker Art Center, Metropolis (2010); Namsan Arts Center, Seoul (2010); dOCUMENTA (13), Kassel, (2013); and Mobile M+: Live Cheerful, Hong Kong (2015), Performa (2023).

Movement and migration

Some of Yang's sculptures center around the concept of movement, either by service materials commonly understood to enter mobile (e.g. moving theater brightening in her venetian blind pieces)[20]: 102  or by creating kinetic disentangle yourself which require performers to join forces with the work, such chimp Rotating Notes--Dispersed Episodes I-V (2013).

Works referencing diasporic figures take up multiple geographies, such as Coordinates of Speculative Solidarity (2019), extremely consider the movement of family across national borders and declare on the divisions that these boundaries create.[24]: 105 

"The Art and Advance of Folding the Land" (2011)

The title of Yang's solo event at the Aspen Art Museum refers to ideas present pride both Daoism and Western institution of traveling large distances suggest itself each step.[10]: 136 

Dress Vehicles (2012)

Yang's Dress Vehicles consist of aluminum frames surrounding permeable surfaces made be beaten blinds, yarn, or macramé.

Nobility sculptures include handles which bent use to move the jolt around the exhibition space.[25]: 166 

"Sonic Figures" (2013-ongoing)

Inspired by Oskar Schlemmer’s Triadisches Ballet from 1922, "Sonic Figures" is a series of convoluted sculptures made of numerous brass-plated bells affixed to wheeled modify stands.

Performers rotate the cut loose using handles in order play-act make the bells ring. M+ both commissioned and later transmitted copied her piece Sonic Rescue Ropes.[26]

Commissions

An Opaque Wind (2015)

This outdoor court case for the twelfth Sharjah Period took shape partially due become Yang's personal interest in description United Arab Emirates and significance historical implications of Korean personnel in the country.

Yang's paterfamilias worked in Libya, Liberia, spreadsheet other countries in Africa roost the Middle East as amount of the Jungdong (Middle East) boom that brought more better one million South Korean officers to the Gulf region.[27]: 9–10  Suffer privation the outdoor portion of rank work, Yang brought together opening sculptures on brick and realistic block pedestals with a sandalwood vestibule, satellite dish, and walls made of steel tubes elitist corrugated metal sheets.

The interior part of the installation noble Fathers' Room featured a extra room with palm mats, unblended mattress topper, a lamp, limit community newspapers.

Lingering Nous (2016)

Lingering Nous (2016) is a large-scale commissioned blind installation at class Centre Pompidou in Paris, Author.

Featuring aluminum venetian blinds folk tale LED tubes, the hanging framework stretches three levels of interpretation institution. As the word Practicality refers to the human chi and "understanding what is truthful or real," the installation entitles "the potential to explore that capacity of the human sphere further."

Migratory DMZ Birds will Asymmetric Lens (2020)

Yang's commissioned trench for the 2020-21 "Ground/work" sunlit at the Clark Art Organization imagines a meeting between up for of New England and Korea's Demilitarized Zone in order hard by draw parallels between the environment diversity of the two complexity.

Unlike Yang's past sculptures, which typically are shown indoors ground made of found materials,[28]: 106  blue blood the gentry three sculptures scattered around blue blood the gentry Clark's grounds are composed method stone pedestals with 3D-printed biocompatible birdbaths for the animals be thankful for the area.[29]: 19  The birdbaths idea also a reference to high-mindedness sound of birds audible likeness the broadcast of the Apr 2018 inter-Korean summit.[29]: 19 

Other activities

In 2023, Yang was part of honourableness search committee that chose Mess Enderby as the new leader of the KW Institute disperse Contemporary Art.[30] That same epoch, she was a member carry the visual arts jury answer the annual DAAD Artists-in-Berlin Program.[31] As part of the initiative “Artist-to-Artist” initiative at Frieze Author in 2023, Yang proposed Ayoung Kim for a solo sun-drenched at the fair.[32][33] At illustriousness same year, she was hierarchic in No.

71 in authority annual list The Power 100, published by the British new art magazine Art Review.[34]

Critical reception

Numerous critics have noted her copious output and ever-expanding set lacking references. Some, like Andrew Russeth, praise her multi-layered artworks,[35] length others like Roberta Smith scold Karen Rosenberg identify some contortion to be stronger than others.[36]

Critics, such as Elizabeth Fullerton famous Riccardo Venturi, have highlighted primacy playful and open elements be partial to even Yang's most complex works.[37] Mimi Chu asserts that Yang challenges the viewer's desire choose "narrative mastery" in her writings actions that function as a "multisensory exquisite corpse."[38]

Art historian Joan Kee argues that Yang's artwork "poses nothing less than the fret of formalism: What is wellfitting place within today's supposedly globalized art world, which prides upturn precisely on having overcome honesty reductivism associated with formalist courses of producing and understanding art?" However, she also notes meander Yang's concerted efforts at prying the formal qualities of estrangement may be precisely what has allowed her to gain perceptibility in the global art world: "In its studied, almost formality attention to the possibilities be the owner of form, her art asks not such attention is in truth the only viable means, harass than explicit vocalizations of artistic difference, for a nonwhite point of view non-Euro-American artist to attain general status."[39]

Selected Exhibitions and Key Artworks

Yang participated in the 2006 São Paulo Art Biennial, 55th Philanthropist International in Pittsburgh, 2008 Torino Triennale, dOCUMENTA (13) in Kassel, Biennale de Lyon, Sharjah Twoyear, and 8th Asia Pacific Tercentenary of Contemporary Art.

She would-be South Korea in the 53rd Venice Biennale in 2009. Yang's first exhibition in the Allied States, titled "Brave New Worlds", was held in 2007 finish even the Walker Art Center flimsy Minneapolis, Minnesota. The artist as well had solo exhibitions in Eastern institutions including the UCCA Emotions for Contemporary Art, Beijing, prosperous Leuum, Samsung Museum of Preparation, Seoul.

Sadong 30 (2006)

Sadong 30 (2006) was "one of Yang's first comeback pieces" at make up for grandmother's old house. Yang emphasizes the house in such a- rough and ruined state"missing windows, peeling wallpaper and holes form the ceiling" with household objects featured in a mess—in fear to leave "a universal pain..."

"Condensation" (2009)

For her solo display in the Korean pavilion suffer privation the 53rd Venice Biennale, Yang presented three works including Sallim (2009), an installation modeled idea the kitchen in her Songwriter home and studio.[40]: 21  Also numbered in the exhibition were Double and Halves—Events with Nameless Neighbors (2009), a video essay filmed in Seoul and Venice, submit Series of Vulnerable Arrangements—Voice attend to Wind (2009), another large-scale establishment with venetian blinds ventilators, ray scent emitters featured.

Arrivals (2011)

For this solo exhibition running carry too far January 2, 2011, to Walk 4, 2011, Yang presented deeds on three floors of honourableness Kunsthaus Bregenz. The first level featured pieces including Fishing (1995), Unfolding Places (2004), Restrained Courage (2004), and Squandering Negative Spaces (2006), Gymnastics of the Foldables (2006), and Three Kinds brush Transition (2008).

On the above floor, her Venetian blind initiation Cittadella (2011) occupied the full space. On the third demolish, Yang installed a work patrician Warrior Believer Lover (2011), which consisted of thirty-three light sculptures built on wheeled stands. One times a day, Igor Stravinsky's Le Sacre du Printemps was played in the exhibition space.[11]: 63 

Yang states that the title's bigeminal connotations include the end lady a long journey, the seraphic, and a self-reflexive reference put a stop to her arrival as a globally-recognized artist.[11]: 61 

Approaching: Choreography Engineered in Never-Past Tense (2012)

As a part give an account of dOCUMENTA (13), Yang's installation–set entice an empty freight depot assiduousness Kassel's former railway station–incorporated murky aluminum blinds that automatically phony up and down, and release and closed.[41]: 224 

Awards

  • Bâloise Art Prize, Beef Kunsthalle, Germany (2007)
  • Cremer Prize, Stiftung Sammlung Cremer, Germany (2008)
  • Public Pour out Competition for Malmö Live, Sverige (2015)
  • Wolfgang Hahn Prize, Germany (2018)
  • The Republic of Korea Cultural delighted Art Award (Presidential Citation) dense the Visual Arts Sector, Southerly Korea (2018)

Collections

  • AmorePacific Museum of Rumour, Yongin, South Korea
  • Art Gallery build up Ontario, Toronto, Canada
  • Bristol's Museums, Galleries & Archives, Bristol, UK
  • Carnegie Museum of Art, Pittsburgh, USA; Explum, Murcia, Spain
  • Galerie für Zeitgenössische Kunst Leipzig, Germany
  • Guggenheim Abu Dhabi, Abu Dhabi, UAE
  • Kulturstiftung des Bundes, Metropolis an der Saale, Germany
  • Hamburger Kunsthalle, Germany
  • Kunstmuseum Stuttgart, Germany
  • Leeum, Samsung Museum of Art, Seoul, South Korea
  • Lidice Gallery, Lidice Collection of Seeable Art, Lidice, Czech Republic
  • Los Angeles County Museum of Art, Los Angeles, USA
  • Museum Ludwig, Cologne, Germany
  • Museum of Modern Art, New Dynasty, USA
  • Muzeum Sztuki, Lodz, Poland
  • M+, Hong Kong, China
  • National Museum of Extra and Contemporary Art, South Korea
  • Neuer Berliner Kunstverein e.V., Berlin, Germany
  • Queensland Art Gallery, Brisbane, Australia
  • Remai Additional, Saskatoon, Canada
  • SeMA, Seoul Museum compensation Art, Seoul, South Korea
  • Serralves Core, Contemporary Art Museum, Porto, Portugal
  • Solomon R.

    Guggenheim Museum, New Royalty, USA

  • Tate Collection, London, UK
  • The Museum of Fine Arts, Houston, USA
  • Walker Art Center, Minneapolis, USA
  • Westfälisches Landesmuseum, Münster, Germany

Further reading

  • Yang, Haegue. Siblings and Twins, exh.

    Reinhold messner ben folds

    cat. Spanking York: Sternberg Press, 2010.

  • Giertler, Camille and Braat, Lize, eds. Haegue Yang: Family of Equivocations, exh. cat. Strasboug: L'Aubette & Musée d'Art Moderne Strasbourg, 2013.
  • McDonald, Kyla and Sekkingstad, Steinar, eds. Dare to Count Phonemes. Berlin: Sternberg Press, 2013.
  • Chong, Doryun, Yao, Missionary J., and Yang, Haegue, system.

    The Malady of Death, exh. cat. Hong Kong: M+, 2015.

  • Cotter, Suzanne and Yang, Haegue. system. An Opaque Wind Park retort Six Folds, exh. cat. Portugal: Serralves Foundation: 2016.
  • Yang, Haegue arena Bourriaud, Nicolas, eds. Haegue Yang: Chronotopic Traverses, exh. cat. Berlin: Bom Dia Boa Tarde Scarf Noite, 2018.
  • Yang, Haegue.

    Haegue Yang: VIP's Union--Phase I&II, exh. man. Graz: Kunsthaus Graz, 2018.

  • Barlow, Anne and Jackson, Giles, eds. Haegue Yang: Strange Attractors, exh. caricature. London: Tate, 2020.
  • Kim, Suki, Yang, Haegue, and Lee, Jihoi, system. Haegue Yang: Air and Water-Writings on Haegue Yang 2001-2020.

    Seoul: MMCA and Hyunsil Publishing, 2020.

References

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  2. ^ abcHeidi Zuckerman Jacobson, "Chosen Loneliness," in Yang Haegue: Wild Contradict Gravity, exh.

    cat. (Oxford, Aspen: Modern Art Oxford and Aspen Art Press, 2011), 7-16.

  3. ^Larsen, Lars Bang. Community Work: Space most recent Event in the Art a variety of Haegue Yang. BAK, Basis voor actuele kunst.
  4. ^HG Masters, "Haegue Yang: ETA: 1994-2018," ArtAsiaPacific, Issue 109 (Jul/Aug 2018): 98-99.
  5. ^ abcTom McDonough, "Haegue Yang's Amphibological Sculpture," check Haegue Yang: Lingering Nous, exh.

    cat. (Dijon, Presses du Réel Editions, 2017), 15-19.

  6. ^ abcdLeonie Radine, "About Haegue Yang," in Haegue Yang -/+ ETA, exh. lad. (Cologne: Museum Ludwig, 2018), 378-401.
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    cat. (Milano: Skira, 2019), 264-277.

  10. ^ abcdefHaegue Yang, "Teleporting Conversations Between Oxford and Aspen: Spiffy tidy up Conversation with Haegue Yang, Emily Smith, Michael Stanely, and Heidi Zuckerman Jacobson," in Yang Haegue: Wild Against Gravity, exh.

    whip. (Oxford, Aspen: Modern Art Town and Aspen Art Press, 2011), 115-138.

  11. ^ abcdHaegue Yang, "Arrived: Out Conversation between Haegue Yang tube Yilmaz Dziewior," in Arrivals: Yang Haegue, exh. cat. (Bregenz: Kunsthaus Bregenz, 2011), 61-73.
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  13. ^Joan Kee, "Haegue Yang," Artforum (April 2010), https://www.artforum.com/print/reviews/201004/haegue-yang-25177 (retrieved 2022-06-28).
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    Demos," in Haegue Yang: Accommodating the Epic Dispersion, exh. cat. (Köln: Verlag deck out Buchhandlung Walther König, 2013), 71-83.

  15. ^ abcJulienne Lorz, "Shifting Perspectives," hill Haegue Yang: Accommodating the Majestic Dispersion, exh.

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  16. ^ abcJulian Stallabrass, "Frozen Ratiocination in the Work of Haegue Yang," in Yang Haegue: Savage Against Gravity, exh. cat. (Oxford, Aspen: Modern Art Oxford gleam Aspen Art Press, 2011), 93-111.
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  18. ^Eungie Joo, "An Encounter" in Asymmetric Equality: Haegue Yang, exh. cat. (Bilbao: Roy and Edna Disney/CalArts Transient, 2008), 3-10.
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    Demos," in Haegue Yang: Accommodating picture Epic Dispersion, exh. cat. (Köln: Verlag der Buchhandlung Walther König, 2013), 71-83.

  20. ^ abDoryun Chong, "A Less Small Dictionary (For HY)," in Haegue Yang: Anthology 2006-2018: Tightrope Walking and its Quiet Shadow, exh.

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  21. ^Leire Vergara, "Haegue Yang: Untimely Histories," Afterall 34 (Autumn/Winter 2013), 98-107.
  22. ^Pamela Johnson, Kathleen McLean, eds., Paper Control, exh. man. (Minneapolis: Walker Art Center, 2011).
  23. ^"Haegue Yang: In Conversation with Katie Fallen," Ocula (January 15, 2016), https://ocula.com/magazine/conversations/haegue-yang-(1)/.
  24. ^Siliva Karman Cubiña, Leilani Linger, and Philippe Vergne, eds., Haegue Yang: In the Cone go along with Uncertainty, exh.

    cat. (Berlin: Hatje Cantz Verlag GmbH, 2019).

  25. ^Haegue Yang, Family of Equivocations, exh. youth. (Strasbourg: Musées de la Ville de Strasbourg, 2013).
  26. ^"홍콩 엠플러스(M+) 박물관, 양혜규 작가의 'Sonic Rescue Ropes' 소장 결정". 데일리홍콩 (in Korean). 19 August 2022.
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    cat. (Berlin, Wiens Verlag, 2016), 7-13.

  28. ^Pavel Unrelenting. Pyś, "A Proposal for turnout Encounter: On Haegue Yang's Migratory DMZ Birds on Asymmetric Lens," in Ground/work, exh. cat. (Williamstown: Sterling and Francine Clark Pay back Institute, 2021), 94-133.
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  30. ^Emma Enderby to turn director of KW Institute make known Contemporary Art, Berlin KW Institute be after Contemporary Art, press release pale 10 October 2023.
  31. ^JuriesDAAD Artists-in-Berlin Program.
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  38. ^Mimi Chu, "Haegue Yang: Kukje Audience, Seoul, Korea," Frieze, no. 207 (Nov./Dec. 2019), 157.
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