Anthology of Haegue Archives
1998/2020
Various objects in glass showcase
225 x 210 x 35 cm
Courtesy of the artist, unless stated otherwise
Photo: Studio Haegue Yang
3 Precious Things
1995/ 2017
2 plastic cups, glass, plaster, steel wire
3 parts, 26 x 7 x 7 cm; 22 x 7 x 7 cm; 25.5 x 5.4 x 5.4 cm
Practicing Baking
1995/2017
Plaster, paper baking cups
5 parts, 3.7 x 9 x 7 cm; 4.8 x 7.5 x 7.5 cm; 3.5 x 7.8 x 7.8 cm; 4.5 x 7.5 x 7.5 cm; 3.5 x 8.8 x 7.6 cm
Fishing
1995
Chipboard, wood varnish, cotton thread, fishhook
40 x 32 cm
Hand-Made
1995/2018
Plaster cast
2 parts, 13 x 9 x 25.5 cm; 13 x 7 x 23 cm
IKEA Cup as a Self-Portrait
1995/2018
Signed cup
9.5 x 12 x 8 cm
Long Life / Bad Life
1995/2017
Pen on paper, saucer
6 x 14 x 14 cm
Macaroni
1995/2017
Cable, tape
21 x 5 x 13 cm
Macaroni (Metal)
1995/2017
Milk bottle, polished bottle top, metal
25.5 x 8.5 x 8.5 cm
Macaroni (Cable)
1995/2017
Milk bottle, polished bottle top, cable, plaster
25.5 x 8.5 x 8.5 cm
Macaroni (Candele Lunghe)
1995/2017
Milk bottle, polished bottle top, cooked and dried pasta, masking tape
25.5 x 8.5 x 8.5 cm
Menu
1995
Chipboard, wood varnish, paint
24 x 31 cm
Black Hair / Blond Hair (dyed)
1995/2017
Milk bottle, polished bottle top, dyed and undyed rope
Dimensions variable
The Art and Craft of the Menu
1995
Chipboard, wood varnish, paint
31 x 24 cm
Courtesy: Collection of Barbara Wien, Berlin
The Transformation from Fish to Leaf
1994
Lacquer painting, wood varnish and paint on wooden panel
20 x 21 x 3,5 cm
Courtesy: Collection of Meike Behm and Peter Lütje, Lingen (Ems)
Installation view of Rundgang Städelschule, Frankfurt am Main, Germany, 1999
Photo: Haegue Yang
Excerpt from exhibition guide of Double Soul, SMK – Statens Museum for Kunst, Copenhagen, Denmark, 2022
This installation addresses the period when Yang, as a newly arrived student, struggled to familiarise herself with European society and posit her own artistic production within that context. Many of those early object-based pieces incorporate a variety of materiality and narrate that period, which is marked by Yang’s language difficulties, a non-existent understanding of her cultural heritage and her encounter with unfamiliar environments. As many of Yang’s early works were disposed of or lost, most of the objects in this room and Anthology of Haegue Archives were reconstructed between 2017 and 2020, enabling her own rediscovery of her nascent practice.
For this presentation, comprised of some early object-based works and Anthology of Haegue Archives, Yang has arranged a selection of objects that appear to be experiments, tentative efforts at artworks and commonplace objects from the workshop. The Anthology of Haegue Archives’ pseudo-scholarly presentation of objects in vitrines accompanied by labels mimics the convention of displaying objects in ethnographic or science museums. It is as if Yang is cataloguing, archiving and researching her own art. In a way, she is. From the 1960s, many artists were preoccupied with the concept of the ‘archive’ and the entire idea of being able to distil phenomena and ideas, pulling them into a rational, neutral space. Typically for Yang, she mobilises self-irony to puncture the (self-) aggrandising, almost ‘pathetic’ – according to her own evaluation – aspects of the archive format by compiling her own works as an ‘Anthology ’.
Exhibition history
Double Soul, SMK – Statens Museum for Kunst, Copenhagen, Denmark, 2022
Emergence, Art Gallery of Ontario, Toronto, Canada, 2020
Rundgang Städelschule, Frankfurt am Main, Germany, 1999
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