양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

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양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

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양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

양혜규, 한국, 순수예술가, 1971-현재

“내 작품 어렵다고요? 다 아는 얘기예요."

 

독일 경제전문지 캐피털에서 매년 11월 발표하는 2023년 쿤스트 컴퍼스 100대 작가리스트’가 공개됐다. 국내에서는 유일하게 1990년대 중반 이후 베를린을 기반으로 서울을 오가며 활발히 활동하고 있는 양혜규 작가가 순위에 올랐다.

 

비미술적인 재료와 낯선 오브제의 조합으로 언제나 신선한 파장을 불러일으키는 그는 최근 지난 8월부터 10월까지 국제갤러리에서 <동면한옥>을 주제로 전시회를 진행하기도 했다.

 

그의 작품은 개인적이고 주관적인 경험과 관찰에서 시작되어, 일상적인 잡동사니를 오브제로 삼아 빛, 열기, 바람, 향기, 소리 등을 투과시킨다. 다만 그의 작품이 주관적 경험이나 관찰에서 출발하였더라도 그는 그것을 설명하거나 설득하지 않고, 보는 이들로 하여금 감각과 사고를 일깨운다.

 

                                                                                                      About Her

 

Haegue Yang was born in 1971 in Seoul, South Korea, and received her BFA from Seoul National University. In the late 1990s, she moved to Germany, where she earned an MFA from the Städelschule Frankfurt am Main. Traversing a wide range of media, from collage to performance, Yang’s body of work often features quotidian and domestic found objects ranging from tea cozies to cans of Spam. The artist dissociates such materials from their original contexts, rearranging them into abstract compositions that build upon a unique and personal visual vocabulary. By including perceptual effects generated with the help of heaters, electrical fans, and even scent diffusers, Yang frequently stages multisensory environments, which—together with the mundane objects—become meditations on labor, emotional connection, and dislocation, replete with references to various moments of abstraction throughout art history.

 

Recognizable motifs recur throughout Yang’s oeuvre, including Venetian blinds; the artist’s first work to feature the slats was Series of Vulnerable Arrangements—Blind Room, which made its debut in 2006 at the São Paulo Biennial. Yang’s series of blinds, arranged into offset planes and set on casters, later appeared at The Tanks at Tate Modern in 2012; these pieces also featured performers who rolled around and interacted with the sculptures in a reference to the choreography in Bauhaus artist Oskar Schlemmer’s modernist Triadisches Ballett (1922). In interviews, Yang has discussed the concept of “permeability to perception” offered by Venetian blinds, which have also appeared as elements of her installations at Documenta (2012) and the Venice Biennale (2009).

 

Yang often explores sociopolitical concerns, and her oeuvre includes the installation Multi Faith Room (2012), which drew inspiration from generic airport prayer rooms designed to serve adherents of all religions. More recently, she has embraced additional mediums and techniques. While on an artist residency in Glasgow, she produced large-scale macramé sculptures that were accompanied by an iPod soundtrack that the artist listened to while making the work. Subsequent pieces—like Sonic Half Moon Type III—Medium Light #18 and Lunar Eclipse Type X—Medium Ultralight #24, both made in 2014—are forms comprising hundreds of small metal bells, which ring in unison when repositioned.

 

Yang’s work has been featured in the Venice Biennale (2009), the Gwangju Biennial (2010), and the Taipei Biennial (2014). She has been the subject of solo exhibitions at the Walker Art Center, Minneapolis (2009); the New Museum of Contemporary Art, New York (2010); Haus der Kunst, Munich (2012); and the Bergen Kunsthall (2013). Her work has been included in group exhibitions such as The New Décor at Hayward Gallery, London (2010), and Berlin 2000–2011: Playing Among the Ruins at the Museum of Contemporary Art, Tokyo (2012). She received the 2005 Cremer Preis, and was one of two winners of the 2007 Bâloise Art Prize. Yang lives and works in Seoul and Berlin.

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알렉스 로워리(Alex Lowery), 런던, 화가, 1957-현재

 

글래디스 므구들랜들루(Gladys Mgudlandlu), 남아프리카 공화국, 예술가, 1917-1979

 

데이미언 허스트(Damien Hirst), 영국, 예술가, 1965-현재