Sonic Clotheshorses
2018-
Sonic Clotheshorse – Dressage #9
2021
Powder-coated aluminum frame, powder-coated mesh, powder-coated handles, casters, PVD-coated stainless steel bells, stainless steel bells, split rings
152 x 57 x 74 cm
Courtesy of the artist
Installation view of Haegue Yang: Quasi-Colloquial, Pinacoteca de São Paulo, Brazil, 2023
Photo: Isabella Matheus
Sonic Clotheshorse – Dressage #3
2019
Powder-coated aluminum frame, powder-coated mesh, powder-coated handles, casters, brass and nickel plated bells, split rings
153 x 56 x 78 cm
Courtesy of of the artist
Installation view of Haegue Yang: Quasi-Colloquial, Pinacoteca de São Paulo, Brazil, 2023
Photo: Isabella Matheus
Sonic Clotheshorse – Dressage #2
2018
Powder-coated aluminum stand, powder-coated metal grid, powder-coated handles, casters, brass and nickel plated bells, metal rings
153 x 57 x 74 cm
Courtesy of Kukje Gallery, Seoul
Photo: Studio Haegue Yang
Sonic Clotheshorse – Dressage #1
2018
Powder-coated aluminum stand, powder-coated metal grid, powder-coated handles, casters, brass and nickel plated bells, metal rings
153 x 57 x 74 cm
Courtesy of Kukje Gallery, Seoul
Photo: Studio Haegue Yang
Sonic Clotheshorses seems to manifest a new sculptural approach, evidently combining two of Yang’s previous work cycles: Sonic Sculptures (ongoing since 2013) and Non-Indépliables (ongoing since 2006). On one hand, while the emblematic characteristics of Sonic Sculptures’ brass or nickel plated bell-covered surface is crucial, the shape of a moment, frozen in time, of a foldable everyday object, namely a drying rack used in the Non-Indépliables series, is also an equally significant feature of Sonic Clotheshorses. The shape of Sonic Clotheshorses, made ofmetal structure and mesh, is developed by ‘wrapping variations’ around an ordinary model of drying rack. So far, over 40 variations have been conceived as a formal development of the Non-Indépliables series, and Sonic Clotheshorse – Dressage #1 and Sonic Clotheshorse – Dressage #2 are the first two of the future serial production of Sonic Clotheshorses. Yang understands Sonic Clotheshorses as a game, which will end by exhausting its variations without winning or losing. Implicated by the equipment of handles on all sides, Sonic Clotheshorse inherently contains a possible performativity between a human performer and objects. Handles here become an important metaphor of a mediation between the human body and the objects, and activating them results in a movement. Reinforced by the subtle rattling sound of the countless bells, Sonic Clotheshorses renders the boundaries between the inanimate nature of the object and the vigor of the human body as a potentiality of performativity in countless variations of visual shapes.
Exhibition history
Quasi-Colloquial, Pinacoteca São Paulo, Brazil, 2023
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