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Yang, Haegue
Haegue Yang (Seoul, Coreia do Sul, 1971)Sonic Rotating Geometry Type E - Nickel Plated # 18, 2013- Steel sheet, powder coating, ball bearings, metal grid, nickel plated bells, metal rings
- 100 x 100 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2014
- The four 'Sonic Rotating Geometries', part of a series begun in 2013, propose an overlay of formal and conceptual narratives. The interplay of geometry, colour, motion and sound is one of their essential components. Mounted directly onto a monochrome circular background painted on the wall, these geometric shapes are covered with nickel-plated bells that can be set in rotation by hand. The colours are selected from the palette of the decorative scheme designed in 1926-28 by Sophie Taeuber-Arp with Hans Arp and Theo Van Doesburg for the Salle des Fêtes and the Foyer Bar of the Aubette building in Strasbourg. With movement, these abstract forms are dissolved into a blurred geometry that recalls the optical illusions of Marcel Duchamp's 'Rotoreliefs' (1935). Yet in Yang's work, the visual effect is replaced by the oscillations of the bells, associated with Buddhist chimes or shamanist ceremonies. Bells are a recurring element in her recent work, in which sculpture becomes a presence that is pushed, pulled, worn or inhabited, creating resonating combinations of movement, light and sound.Haegue Yang’s sculptural propositions are part of a multivalent form of art making comprising a graphic as well as a sculptural oeuvre, and in which exhibition display itself constitutes a vital and choreographed dimension. Sound, movement, found objects and ready-made structures, such as clothing racks, venetian blinds and electric lamps and fans, have constituted the material for her physical environments and totem-like sculptures that suggest transience and evocations of mobility across time and space. In recent years, Yang has looked to the canon of modernist art, dance and costume design, from the Aubette designs, to Stravinksy’s The Rite of Spring of 1910 and The Triadic Ballet, designed by Bauhaus teacher Oskar Schlemmer in 1922.
Haegue Yang (Seoul, Coreia do Sul, 1971)Sonic Rotating Geometry Type F - Nickel Plated # 19, 2013- Steel sheet, powder coating, ball bearings, metal grid, nickel plated bells, metal rings
- 70 x 70 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2014
- The four 'Sonic Rotating Geometries', part of a series begun in 2013, propose an overlay of formal and conceptual narratives. The interplay of geometry, colour, motion and sound is one of their essential components. Mounted directly onto a monochrome circular background painted on the wall, these geometric shapes are covered with nickel-plated bells that can be set in rotation by hand. The colours are selected from the palette of the decorative scheme designed in 1926-28 by Sophie Taeuber-Arp with Hans Arp and Theo Van Doesburg for the Salle des Fêtes and the Foyer Bar of the Aubette building in Strasbourg. With movement, these abstract forms are dissolved into a blurred geometry that recalls the optical illusions of Marcel Duchamp's 'Rotoreliefs' (1935). Yet in Yang's work, the visual effect is replaced by the oscillations of the bells, associated with Buddhist chimes or shamanist ceremonies. Bells are a recurring element in her recent work, in which sculpture becomes a presence that is pushed, pulled, worn or inhabited, creating resonating combinations of movement, light and sound.Haegue Yang’s sculptural propositions are part of a multivalent form of art making comprising a graphic as well as a sculptural oeuvre, and in which exhibition display itself constitutes a vital and choreographed dimension. Sound, movement, found objects and ready-made structures, such as clothing racks, venetian blinds and electric lamps and fans, have constituted the material for her physical environments and totem-like sculptures that suggest transience and evocations of mobility across time and space. In recent years, Yang has looked to the canon of modernist art, dance and costume design, from the Aubette designs, to Stravinksy’s The Rite of Spring of 1910 and The Triadic Ballet, designed by Bauhaus teacher Oskar Schlemmer in 1922.
Haegue Yang (Seoul, Coreia do Sul, 1971)Sonic Rotating Geometry Type D - Nickel Plated # 16, 2013- Steel sheet, powder coating, ball bearings, metal grid, nickel plated bells, metal rings
- 100 x 100 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2014
- The four 'Sonic Rotating Geometries', part of a series begun in 2013, propose an overlay of formal and conceptual narratives. The interplay of geometry, colour, motion and sound is one of their essential components. Mounted directly onto a monochrome circular background painted on the wall, these geometric shapes are covered with nickel-plated bells that can be set in rotation by hand. The colours are selected from the palette of the decorative scheme designed in 1926-28 by Sophie Taeuber-Arp with Hans Arp and Theo Van Doesburg for the Salle des Fêtes and the Foyer Bar of the Aubette building in Strasbourg. With movement, these abstract forms are dissolved into a blurred geometry that recalls the optical illusions of Marcel Duchamp's 'Rotoreliefs' (1935). Yet in Yang's work, the visual effect is replaced by the oscillations of the bells, associated with Buddhist chimes or shamanist ceremonies. Bells are a recurring element in her recent work, in which sculpture becomes a presence that is pushed, pulled, worn or inhabited, creating resonating combinations of movement, light and sound.Haegue Yang’s sculptural propositions are part of a multivalent form of art making comprising a graphic as well as a sculptural oeuvre, and in which exhibition display itself constitutes a vital and choreographed dimension. Sound, movement, found objects and ready-made structures, such as clothing racks, venetian blinds and electric lamps and fans, have constituted the material for her physical environments and totem-like sculptures that suggest transience and evocations of mobility across time and space. In recent years, Yang has looked to the canon of modernist art, dance and costume design, from the Aubette designs, to Stravinksy’s The Rite of Spring of 1910 and The Triadic Ballet, designed by Bauhaus teacher Oskar Schlemmer in 1922.
Haegue Yang (Seoul, Coreia do Sul, 1971)Sonic Rotating Geometry Type D - Nickel Plated # 17, 2013- Steel sheet, powder coating, ball bearings, metal grid, nickel plated bells, metal rings
- 100 x 100 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2014
- The four 'Sonic Rotating Geometries', part of a series begun in 2013, propose an overlay of formal and conceptual narratives. The interplay of geometry, colour, motion and sound is one of their essential components. Mounted directly onto a monochrome circular background painted on the wall, these geometric shapes are covered with nickel-plated bells that can be set in rotation by hand. The colours are selected from the palette of the decorative scheme designed in 1926-28 by Sophie Taeuber-Arp with Hans Arp and Theo Van Doesburg for the Salle des Fêtes and the Foyer Bar of the Aubette building in Strasbourg. With movement, these abstract forms are dissolved into a blurred geometry that recalls the optical illusions of Marcel Duchamp's 'Rotoreliefs' (1935). Yet in Yang's work, the visual effect is replaced by the oscillations of the bells, associated with Buddhist chimes or shamanist ceremonies. Bells are a recurring element in her recent work, in which sculpture becomes a presence that is pushed, pulled, worn or inhabited, creating resonating combinations of movement, light and sound.Haegue Yang’s sculptural propositions are part of a multivalent form of art making comprising a graphic as well as a sculptural oeuvre, and in which exhibition display itself constitutes a vital and choreographed dimension. Sound, movement, found objects and ready-made structures, such as clothing racks, venetian blinds and electric lamps and fans, have constituted the material for her physical environments and totem-like sculptures that suggest transience and evocations of mobility across time and space. In recent years, Yang has looked to the canon of modernist art, dance and costume design, from the Aubette designs, to Stravinksy’s The Rite of Spring of 1910 and The Triadic Ballet, designed by Bauhaus teacher Oskar Schlemmer in 1922.
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