14 December 2015 – 15 January 2016
28 March – 17 April 2016
Haegue Yang (b; Seoul, 1971) currently lives and works in Berlin and Seoul. Her works are known for their eloquent and seductive sculptural language of visual abstraction out of her research on historical figures and events. Bringing together a variety of working methods, ranging from complex spatial installations with industrially produced items, such as Venetian blinds, to hand-made sculptures using rather low-tech craft such as paper folding, known as origami, knitting, macramé and other types of weavings. Recently, bells have been entered as sonic and performative elements, which illuminate one of her interests in the notion of movements, in physical, social and metaphorical sense. Also to mention as new material encounter is synthetic straw, an intriguing elements gesturing towards the notion of folk which is both an anthropological reference well as democratic base. Yang’s oeuvre has reached a level of rich complexity and across her work is a focus on sculpture and a rigorous negotiation with materiality through processes of creation and the final form itself, yet the invisible part of investigation on history has been additionally inherent, which has been widely discussed as a method of unique abstraction.
Haegue Yang has exhibited in major international exhibitions including the 53rd Venice Biennale (2009) as South Korean representative, dOCUMENTA (13) in Kassel (2012), Mediacity Seoul (2014) and Taipei Biennale (2014). Her recent solo exhibitions include Ullens Center for Contemporary Art, Beijing (2015), Leeum, Samsung Museum of Art, Seoul (2015), Museum of Contemporary Art, Strasbourg (2013), Bergen Kunsthall, Bergen (2013), Haus der Kunst München, Munich (2012), and major institutions including the New Museum in New York, Walker Art Center in Minneapolis, Kunsthaus Bregenz in Austria, Modern Art Oxford in UK, Aspen Art Museum in US, Arnolfini and Tate Modern Tanks in UK among others have hosted her solo shows.
Haegue Yang will shift her attention to researching film histories in Southeast Asia. These film histories within the region intersect with her research on Korean filmmaker Shin Sangok who was kidnapped by North Korean in 1978 and produced 17 films after his prolific career in South Korea. Shin had co-produced films in partnership with the famed Shaw Brothers of Singapore before his abduction. While in residence Haegue Yang will also examine questions of home, destinies and narratives that are interwoven with migratory figures in a colonial history. Her research on the Southeast Asian Diaspora figures extends from an annual commission, Accommodating the Epic Dispersion – On Non-Cathartic Volume of Dispersion (2012) for Haus der Kunst in Munich. The length of this work’s title is deliberate, in response to the overlapping of diaspora history with the specific history of the work’s location — a large and voluminous hall once known as ‘Ehrenhalle’ under the Third Reich. By critically extending and dispersing a reconstruction of histories in an epic dimension, the work introduced issues of migration, diaspora, movement and thereby, colonialism, through questions such as, “is movement mental or physical? When we migrate, do we lose our sense of home? How do we maintain and accommodate our migratory destinies and narratives?”
Compared to the abstract language and referential contexts behind Artist-in-Residence Haegue Yang’s installative sculptures, her video works reveal a directly narrative approach. Consisting of diaristic video essays of seemingly insignificant city scenes, Video Trilogy: Unfolding Places (2004), Restrained Courage (2004) and Squandering Negative Spaces (2006) contemplates upon sentiments of solitude and vulnerability. While the intimate yet incongruous voice-over monologue unfolds episodes of failed interactions and observations of everyday life, Video Trilogy evokes a deeply intimate sense of place, where the artist binds together the mundane and the poetic through the artists’ subtle interventions such as displaced origami and autonomous manifestations of light. The screening will be followed by a Q&A with the artist.
Haegue Yang currently lives and works in Berlin and Seoul. Her works are known for their eloquent and seductive sculptural language of visual abstraction out of her research on historical figures and events. Yang has exhibited in major international exhibitions including the 53rd Venice Biennale (2009) as the South Korean representative, dOCUMENTA (13) in Kassel (2012), Taipei Biennale (2014).
Image credit: Hague Yang, Video Trilogy: Restrained Courage, 2004. Single channel DV-PAL, color, sound, 19’07”, filmed in Amsterdam, Frankfurt, London, Seoul, Berlin, voice-over: Camille Hesketh (English). Courtesy of the artist.
13 Apr 2016, Wed - 19 Apr 2016, Tue
20 Apr 2016, Wed - 26 Apr 2016, Tue
27 Apr 2016, Wed - 3 May 2016, Tue
Unfolding over four weeks, the NTU CCA Singapore presents Four Practices, a display of resource material of current Artists-in-Residence. Showcasing publications, audio and visual documentation, Four Practices provides an entry point in understanding the artists’ diverse body of works and the complexity of their practices.
Four Practices complements and expands on NTU CCA Singapore’s Artist Resource Platform, a growing collection of resource materials from more than 80 local and international artists, independent art spaces and NTU CCA Singapore’s Artists-in-Residence.
- Haegue Yang (South Korea) : 6 – 12 April
- Zac Langdon-Pole (New Zealand): 13 – 19 April
- Zul Mahmod (Singapore): 20 – 26 April
- Dennis Tan (Singapore): 27 April – 3 May
Image credits: Courtesy of Dennis Tan, NTU CCA Singapore Artist-in-Residence