“Abstraction is not a…simplified way of thinking: it’s a leap—a leap into a dimension that cannot otherwise be understood,” says Haegue Yang, whose multimedia installations and sculptures discover a wide selection of fabric associations, immersing the senses. Sequence equivalent to Mild Sculptures and Sonic Sculptures defy genres, usually combining ready-made, mass-produced objects with industrially created substances.
On the Nasher Sculpture Middle in Dallas, Yang’s solo exhibition Misplaced Lands and Sunken Fields engages viewers in a “dialectic of contrasts: light and dark, aerial and grounded, buoyant and heavy, spare and dense, interior and exterior,” an announcement says. The present follows the artist’s first main survey within the U.Okay. at London’s Hayward Gallery, which launched into a collage-forward celebration of labor created throughout the previous 20 years.
“Frosted Scales Mermaid Queen – Mesmerizing Mesh #218” (2023), Hanji, washi, and origami paper on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Picture courtesy of kurimanzutto, Mexico Metropolis / New York
Working between Seoul and Berlin, Yang hybridizes people customs and craftsmanship, on a regular basis objects, and vernacular methods in items that mix sculpture, set up, collage, textual content, video, wallpaper, and sound. “Sonic Intermediates – Triad Walker Trinity,” for instance, coats metal frames in tiny bells, metallic rings, plastic twine, and extra, which evoke vaguely animalistic varieties that transfer round on casters.
Time and geography collapse in an abstracted visible language that merges the fashionable and the pre-modern, artwork historical past and literature, and themes of displacement, migration, pressured exile, and world diasporas. Her works “link various geopolitical contexts and histories in an attempt to understand and comment on our own time,” says an announcement from kurimanzutto, which represents the artist.
The gallery additionally presents a concurrent exhibition titled Arcane Abstractions, together with two-dimensional collage works complemented by an archival show of items by Mexican artisans. Yang continues to analyze cultural heritage and ritualistic symbolism via supplies as she forwards “a proposal to live our lives today with a holistic view of mobility and technology, respect for spirituality, as well as contemplation on the resilient adaptability of both nature and humans,” says an announcement.
Arcane Abstractions continues via April 5 in Mexico Metropolis, and Misplaced Lands and Sunken Fields runs via April 27 in Dallas.
“Airborne Paper Creatures – Flutterers” (2025), birch plywood, wooden stain, chrome steel elements, Hanji, washi, origami paper, marbled paper, honeycomb paper balls, beads, metallic bells, plastic crown flowers, parandy, Punjabi earrings and ornaments, chrome steel chains, cut up rings, metal wire ropes, and swivels, 47 3/4 x 22 x 25 1/2 inches, 21 3/4 x 12 1/2 x 9 1/2 inches, and 36 1/2 x 23 1/2 x 23 1/2 inches (three components). Photograph by Studio Haegue Yang. Picture courtesy of the Nasher Sculpture MiddleElement of “Airborne Paper Creatures – Flutterers.” Picture courtesy of the Nasher Sculpture MiddleSet up view of ‘Haegue Yang: Leap Year’ (2024). Photograph by Mark Blower. Picture courtesy of the artist and the Hayward Gallery, LondonSet up view of ‘Haegue Yang: Leap Year’ (2024). Photograph by Mark Blower. Picture courtesy of the artist and the Hayward Gallery, London“Aztec Underwater Wanderer – Mesmerizing Mesh #214” (2023), Hanji and washi on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Picture courtesy of kurimanzutto, Mexico Metropolis / New York“Radial Tousled Epiphyte” (2025), birch plywood, wooden stain, acrylic board, powder-coated chrome steel wall mount, chrome steel elements, Hanji, and marbled paper, 54 3/4 x 54 3/4 x 8 1/4 inches. Photograph by Studio Haegue Yang. Picture courtesy of the Nasher Sculpture MiddleElement of “Radial Tousled Epiphyte.” Picture courtesy of the Nasher Sculpture Middle“Sonic Clotheshorse–Dressage #3” (2019), powder-coated aluminum body, mesh and handles, casters, brass-and nickel- plated bells, cut up rings, 60 1/4 x 22 x 30 3/4 inches, and “Sonic Clotheshorse–Dressage #4” (2019), powder-coated aluminum body, mesh and handles, casters, brass-and nickel-plated bells, and cut up rings, 50 1/4 x 19 1/4 x 33 3/4 inches. Set up view of ‘Haegue Yang: Emergence’ on the Artwork Gallery of Ontario, Toronto, Canada, 2020. Photograph by Craig Boyko, AGO“Aqua-Respirating Soul Sheet – Mesmerizing Mesh #263” (2024), Hanji, washi, and origami paper on alu-dibond, framed, 24 3/8 x 24 3/8 inches. Picture courtesy of kurimanzutto, Mexico Metropolis / New York
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