Haegue Yang: Integrity of the Insider - reflection
>>I think the way that the red lights shown through the blinds and the shapes and shadows they created were interesting and surprising. The lighting definitely made a difference and contributed to the overall effect. I think my senses were engaged by the near fear that would have been instilled within me had I not known this was an art exhibit. The exhibit feels like a scene from a horror movie at times because of the stillness and red lights and "ally way" type corridors. The term "red light district" comes to mind despite the fact that it really doesn't make sense for what a red light district really is, but the literal words themselves seem to represent this piece. The light and shadows as a part of the visual sense were probably the strongest. Three questions I would ask would be 1. What is/was your muse for this piece? 2. What were you feeling when you decided to construct the hanging structures and make them a part of the exhibit? 3. How did the historical figures mentioned in the talk with Doryun Chong play a role in the construction of the exhibit? I would describe the installation by describing the walls as "venetian blinds" (I think they are called) and then telling them that there were moving red lights being shown through them and the walls/blinds were set up like hallways or corridors.
>> Something interesting that I found in Haegue and Doryun's talk is how carefully Haegue constructs her space and how much attention to detail she includes. At one point during the discussion, about a half an hour in or so, she explains how not only the visual sensory experience was crafted very carefully, but also how the smells and sounds were to be experienced. In essence, she was creating the complete sensory experience for the viewer. I also found it interesting when she talked about Yearning Melancholy Red and the "red-walls" and how they shaped the lines of the structure of the hanging walls. The color red seems so visceral in the environment where they're hanging in the middle of the room. Doryun also noted that how red can represent revolution, blood, and Communism and how there are real thoughts and feelings evoked from this one color; the representation of the color is important in its environmental context. I guess I'm curious as to why the artist chooses particular colors to represent something in their piece, aside from maybe the aesthetic/traditional artistic reasons. (i.e. blue because it's sad). It was also interesting how she incorporated some historical figures (Kim Jong Il and the French person) into her pieces.