HAEGUE YANG (EDITION II)
Afterimage
In her installation 'Afterimage' Haegue Yang re-explores her project 'Sadong 30', which is the address of her derelict and abonded family home in Incehon. This project negotiates this very particular construction of a place, a possible home, interwoven with the condition of her personal history, that house and the underdeveloped suburban city.
In 'Afterimage' she 'remembers' and reworks certain elements of this project in Incehon which she will show for the exhibition at de Appel. 'Gymnastics of the Foldables' is a series of black and white photographs, which depict a clothes rack in many different positions. The rack develops almost a human quality as its stretches and bends like a human body does. It might also refer to Martha Rosler's famous work 'Semiotics of the Kitchen'.
In her installation 'Afterimage' Haegue Yang re-explores her project 'Sadong 30', which is the address of her derelict and abonded family home in Incehon. This project negotiates this very particular construction of a place, a possible home, interwoven with the condition of her personal history, that house and the underdeveloped suburban city.
In 'Afterimage' she 'remembers' and reworks certain elements of this project in Incehon which she will show for the exhibition at de Appel. 'Gymnastics of the Foldables' is a series of black and white photographs, which depict a clothes rack in many different positions. The rack develops almost a human quality as its stretches and bends like a human body does. It might also refer to Martha Rosler's famous work 'Semiotics of the Kitchen'.
November 17, 2006 - January 7, 2007, De Appel arts centre
Storage Piece
Context, history, visibility, object, space: these are all familiar and reoccurring words that structure the vocabulary of art production and reception. They are the 'vessels' waiting for meaning and value, created by artists, recognized and/or assigned as such by writers and beholders.
"Woman: Let's take one metal rack here, a product from a company called 'Otto Kind'. They have developed an industrial module rack system. Quite nice I think. You can assemble them together without any additional tools. Visually they look nice, and I believe they do not look pretentious at all. Super nice material, reasonable priced."
By means of a dialogue between a man and a woman, Haegue Yang oscillates between abstract ideas on art and the sheer practice of producing it, rumbling through the dense field where (historical) consciousness and (personal) experience meet, and where one wants to find a voice to speak, a place where one is listened to.
Concept and text by Haegue Yang, performed by Sarah Vanhee and Art-Jan de Vries.
Context, history, visibility, object, space: these are all familiar and reoccurring words that structure the vocabulary of art production and reception. They are the 'vessels' waiting for meaning and value, created by artists, recognized and/or assigned as such by writers and beholders.
"Woman: Let's take one metal rack here, a product from a company called 'Otto Kind'. They have developed an industrial module rack system. Quite nice I think. You can assemble them together without any additional tools. Visually they look nice, and I believe they do not look pretentious at all. Super nice material, reasonable priced."
By means of a dialogue between a man and a woman, Haegue Yang oscillates between abstract ideas on art and the sheer practice of producing it, rumbling through the dense field where (historical) consciousness and (personal) experience meet, and where one wants to find a voice to speak, a place where one is listened to.
Concept and text by Haegue Yang, performed by Sarah Vanhee and Art-Jan de Vries.
January 13 & 14, 2007, De Appel arts centre
Suppression and Distraction
In her works, Haegue Yang engages with systems of order and standard products. She follows up the question, what basic assumptions and behavioural expectations are manifested in them and thus passed on to users. In the past she has worked with materials such as electricity cables, lamps, fans and Venetian blinds.
By means of small changes to the available things (furniture, Filofax inserts and graph paper, for instance, formed the basis for previous works), she makes these implications visible. At the same time she makes an attempt to liberate useful objects from their functional context and give them other connotations. Thus linguistic and didactic processes are further central features of her work. At the MuHKA she shows 'Suppression and Distraction', an installation in which she investigates the elements identity is made of.
In her works, Haegue Yang engages with systems of order and standard products. She follows up the question, what basic assumptions and behavioural expectations are manifested in them and thus passed on to users. In the past she has worked with materials such as electricity cables, lamps, fans and Venetian blinds.
By means of small changes to the available things (furniture, Filofax inserts and graph paper, for instance, formed the basis for previous works), she makes these implications visible. At the same time she makes an attempt to liberate useful objects from their functional context and give them other connotations. Thus linguistic and didactic processes are further central features of her work. At the MuHKA she shows 'Suppression and Distraction', an installation in which she investigates the elements identity is made of.
28 October, 2007 - 6 January, 2008, MuHKA
'Storage Piece', Haegue Yang, 2007, De Appel arts centre
Above: 'Afterimage', Haegue Yang, 2007, De Appel arts centre
Below: 'Suppression and Distraction - another way of being busy with these', Haegue Yang, 2007, courtesy Gallery Barbara Wien, Berlin
Below: 'Suppression and Distraction - another way of being busy with these', Haegue Yang, 2007, courtesy Gallery Barbara Wien, Berlin
