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Born: 1971, Seoul, South Korea
Lives and Works: Berlin and Seoul
Haegue Yang's art resists a defining medium, engaging instead with a range of means, from wall drawing to books, sculpture, installation, moving image, and photography. The oblique self-analysis that Yang uses as both strategy and substance in her "placeless" art is symptomatic of someone who has lived for many years outside of her native country and whose life and work entail the high-mobility and in-transit condition common to many contemporary artists operating internationally. This acute sense of provisional belonging--being at home in what is foreign and feeling foreign in what is home--lends Yang's work a hair-trigger sensitivity for the inflections of quotidian experience as well as public and private territories. She has described her practice in terms of a poetic activism. Three Kinds (2008) employs commonplace objects such as venetian blinds, lights, and mirrors to create an atmosphere of dramatic intimacy. Though the specific point of conceptual departure remains obscured--Yang relates this and similar installations to abstract portraits of various individuals from Asian and European history--the interaction of the elements might be seen as a stand-in for human relations.
Artist's Lecture: Haegue Yang
Tues., Sept. 30, 5:00-6:00 p.m.
Carnegie Mellon University, McConomy Auditorium; Free
Haegue Yang's work resists a defining medium, ranging from wall drawings to sculpture, moving image, and photography. In Life on Mars, her installation Three Kinds employs such commonplace objects as venetian blinds and mirrors to create an atmosphere of dramatic intimacy, while Three Kinds in Transition features a poetic sequence of images of globes and origami. Cosponsored by Carnegie Mellon School of Art.
Watch more video interviews in the Audio/Video Library.