| || |
Haegue Yang: Arrivals
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.
FROM THE BOOK
"The decision came about more or less spontaneously, even if I'd spent a long time sitting in front of my collection of 'candidates' for a title. What was important to me was the range of a word's meaning. The exhibition title was supposed to encompass more than just the quotidian, even though it derives from everyday reality. An arrival premises a long journey, being in transit. Indirectly the word contains something like, you've finally
arrived. This eventual or ultimate
arrival, whose meaning is not quotidian, interests me. In other words, the religious, the absolute, such as the advent of a grand epiphany or the creation of something of great significance."
Haegue Yang, excerpted from her conversation with Yilmaz Dziewior in Arrivals.