Published by Walther König, Köln. Edited by Julienne Lorz. Foreword by Okwui Enwezor. Text by Sabine Brantl, Julienne Lorz. Interview by T.J. Demos.
For the middle hall of the Haus der Kunst in Munich, South Korean artist Haegue Yang (born 1971) has created a complex scene of hanging blinds that play on the boundaries between inside and outside, open and closed. This publication documents the installation.
Published by Aspen Art Museum/Modern Art Oxford. Text by Heidi Zuckerman Jacobson, Katharina Schwerendt, Julian Stallabrass, Anne Wagner. Interview with Haegue Yang.
Designed by Manuel Raeder in close collaboration with the artist, this fully illustrated catalogue focuses on Haegue Yang's concurrent 2011 exhibitions at Modern Art Oxford and the Aspen Art Museum. Both exhibitions featured newly commissioned work by the Seoul- and Berlin-based artist, who is known for her colorful and sensorial installations and sculptures that occupy the in-between spaces where public and private meet. The publication features essays by Julian Stallabrass (Reader, Courtauld Institute, London), Anne Wagner (Professor Emerita at the University of California, Berkeley) and Heidi Zuckerman Jacobson (Director and Chief Curator, Aspen Art Museum), as well as an interview with Haegue Yang and a biographical text by Katharina Schwerendt. The MAO exhibition is Yang's first major exhibition in the UK; Yang is the AAM's 2011 Jane and Marc Nathanson Distinguished Artist in Residence.
Published by Kunsthaus Bregenz. Edited by Yilmaz Dziewior. Text by Marina Vishmidt, Anders Kreuger.
From mundane objects such as Venetian blinds, theatrical lights, infrared heaters, fans and metal stands, Korean artist Haegue Yang (born 1971) creates complex installations that trade on the immersive familiarity of domestic props to disquiet the viewer in the subtlest of ways. Artificial manipulations of intangible sensual experiences such as heat, odor and light further heighten the elusive spatial evanescence of her works. For her 2009 sculpture “Sallim,” Yang created a full-scale model of her kitchen in Berlin, “free from many of the things that are attributes of the ordinary concept of work in terms of social effectiveness/productivity,” as she describes it. What remains is more like the bare outline of a kitchen, with its structural and indeed conceptual solidity rendered provisional and strangely dubious. Haegue Yang: Arrivals presents a catalogue raisonné of the artist's works to date, revealing her to be one of today's most intriguing young artists.