Sonic Clotheshorses
2018-

 

Sonic Clotheshorse – Dressage #1
2018

Powder-coated aluminum stand, powder-coated metal grid, 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 #2
2018

Powder-coated aluminum stand, powder-coated metal grid, casters, brass and nickel plated bells, metal rings

153 x 57 x 74 cm

Courtesy of Kukje Gallery, Seoul

Photo: Studio Haegue Yang

 

Work description

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 of metal structure and mesh, is developed by ‘wrapping variations’ around an ordinary model of a 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.



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