The Randing Intermediates
2020
The Randing Intermediates – Inception Quartet
2020
Courtesy of kurimanzutto Mexico City / New York
Commission by MCAD, Manila
Photo: At Maculangan/Pioneer Studios
The Randing Intermediate – Lotus Fountain Queen Ant
2020
Rattan, stainless steel frame, casters, capiz shells, stainless steel rings
188 x 144 x 126 cm
The Randing Intermediate – Crested Duck King
2020
Rattan, stainless steel frame, casters, artificial plants, capiz shells, stainless steel rings
213 x 101 x 97 cm
The Randing Intermediate – Open-Armed Long-Eared Monarch
2020
Rattan, stainless steel frame, casters, capiz shells, stainless steel rings
194 x 129 x 123 cm
The Randing Intermediate – Open-Hearted Royal Shoulder
2020
Rattan, stainless steel frame, casters, artificial plants, capiz shells, stainless steel rings
194 x 106 x 84 cm
The Randing Intermediate – Underbelly Alienage Duo
2020
Courtesy of kurimanzutto Mexico City / New York
Commission by MCAD, Manila
Photo: At Maculangan
The Randing Intermediate – Earth Alienage Rising Sporing
2020
Rattan, stainless steel frame, powder-coated stainless steel handles, casters, artificial plants
225 x 225 x 179 cm
The Randing Intermediate – Sea Alienage Fanned-Out Bang
2020
Rattan, stainless steel frame, powder-coated stainless steel handles, casters, nylon cord
126 x 265 x 142 cm
Excerpt from exhibition booklet Haegue Yang: The Cone of Concern, ed. by Joselina Cruz, Manila, 2020
The language of weaving is decidedly present in the two sculptural ensembles developed between her studio in Seoul and the workshop in Manila. For the series The Intermediates (2015-), Yang previously worked with artificial straw weaving as a critical inquiry into the notion of folk as a conventional term to define identity and belonging as being something fixed and given in her works. The anthropomorphic-sized sculptures, The Randing Intermediates – Inception Quartet (2020) suggest hybrid creatures that appear animalesque, while another set The Randing Intermediates – Underbelly Alienage Duo (2020) hints at spores and sea creatures.
These sculptures also incorporate artificial plants, and are adorned with capiz shells and colourful string, wound around fan-shaped frames, as well as rattan spokes that bring to mind fairytales, mythology, animism, Cuban Santeria and Haitian voodoo. While the artist has used weaving as critical inquiry into the notion of folk as a conventional term to define identity and belonging as being something fixed and given, the Randing Intermediates describes a new sculptural category, which is more authentic in the sense that it hews closest to the traditional practice of weaving. Randing is derived from the most basic weaving technique which uses a single rod as the main stake around which the rest of the material is woven around. The weaving terminology found amid the exhibition brings out, through the artist’s complex intertwining of ideas, materials and traditions under the phenomena of weather, a temperamental and all-encompassing natural phenomenon that speaks a language understood across countries and populations. As Yang sees it, “phenomena are autonomous beings with their own logic of existence ... imbued with powers of association.”1
1Doryun Chong, “A Less Small Dictionary (For HY).” in Haegue Yang: Anthology 2006-2018: Tightrope Walking and Its Wordless Shadow, ed. Bruna Roccasalva (Italy: Skira, 2019), 118.
Exhibition history
The Cone of Concern, Museum of Contemporary Art and Design (MCAD), Manila, Phillipines, 2020
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