Tag Archives: Haegue Yang


“While geological epochs are known as products of slow change, the Anthropocene has been characterized by speed. Runaway climate change, rising water, surging population, non-stop extinction, and expanding technologies compress our breathless sense of space and time.”*

Organized around seven themes—Deluge, Raw Material, Consumption, Extinction, Symbiosis and Multispecies, Justice, and Imaginary Futures—the traveling exhibition THE WORLD TO COME—ART IN THE AGE OF THE ANTHROPOCENE explores the ongoing crisis through the work of over forty artists.


Through March 3.

Harn Museum of Art

University of Florida

3259 Hull Road, Gainesville.

From April 27 through July 28:

A. Alfred Taubman Gallery

University of Michigan Museum of Art

525 South State Street, Ann Arbor.

See: Antek Walczak, “Welcome to the Anthropocene: Tornadoes of Cash and Hurricanes of Capital,” in Oscar Tuazon Live (Los Angeles: DoPe Press/Cologne: Verlag der Buchhandlung Walther König, 2014), 55–62.

THE WORLD TO COME includes work by Jennifer Allora and Guillermo Calzadilla, Claudia Andujar, Sammy Baloji, Subhankar Banerjee, Huma Bhabha, Liu Bolin, Edward Burtynsky, Sandra Cinto, Elena Damiani, Dornith Doherty, Charles Gaines, Mishka Henner, Felipe Jácome, Chris Jordan, William Kentridge, Wifredo Lam, Maroesjka Lavigne, Eva Leitolf, Dana Levy, Yao Lu, Pedro Neves Marques, Noelle Mason, Mary Mattingly, Gideon Mendel, Ana Mendieta, Kimiyo Mishima, Richard Misrach, Beth Moon, Richard Mosse, Jackie Nickerson, Gabriel Orozco, Trevor Paglen, Abel Rodríguez, Allan Sekula, Taryn Simon, Nicole Six and Paul Petritsch, Laurencia Strauss, Thomas Struth, Bethany Taylor, Frank Thiel, Sergio Vega, Andrew Yang, and Haegue Yang.

From top: Nicole Six and Paul Petritsch, Spatial Intervention 1, video still, 2002. Courtesy the artists. © Bildrecht, Vienna, 2017; Taryn SimonWhite Tiger (Kenny), Selective Inbreeding, Turpentine Creek Wildlife Refuge and Foundation, Eureka Springs, Arkansas (detail), 2006–07, from the series An American Index of the Hidden and Unfamiliar, 2007, © Taryn SimonLiu Bolin, Hiding in the City, No. 95, Coal Pile, 2010, image courtesy the artist, © Liu BolinRichard Mosse, Stalemate, 2011, courtesy the artist and Jack Shainman Gallery, New York; Maroesjka LavigneWhite Rhino, Namibia, from the series Land of Nothingness (2015), courtesy of the artist.


Chris Emile—dancer, choreographer, and cofounder of No)one Art House—presents a choreographed performance in response to Haegue Yang’s Strange Fruit (2012-13).  

Using Yang’s installation as its stage, the performance by Emile and three other dancers examines the “public display and consumption of violence against marginalized bodies and investigates how African-Americans process trauma.”*


FIXED, Sunday, September 2, at 3pm

MOCA GRAND AVENUE, 250 South Grand Avenue, downtown Los Angeles.


Chris Emile, Fixed. Image courtesy the artist and MOCA.



The Hawker, 2014, Installation view (image Carlos/Ishikawa)

The Hawker

dépendance at Carlos/Ishikawa, London

March 14 – April 12, 2014

ARTISTS: Richard Aldrich, Marie Angeletti, Thomas Bayrle, Will Benedict, Merlin Carpenter, Michaela Eichwald, Jana Euler, Christian Flamm, Olivier Foulon, Manuel Gnam, Thilo Heinzmann, Karl Holmqvist, Tom Humphreys, Sergej Jensen, Dorota Jurczak, Michael Krebber, Martin Laborde, Linder, Michaela Meise, Oscar Murillo, Shelly Nadashi, Henrik Olesen, Benjamin Saurer, Nora Schultz, Hanna Schwarz, Lucie Stahl, Josef Strau, Simon Thompson, Harald Thys & Jos de Gruyter, Oscar Tuazon, Peter Wächtler, and Haegue Yang.



The Hawker, 2014, Installation view (image Carlos/Ishikawa)


The Hawker, 2014, Installation view (image Carlos/Ishikawa)

Jana Euler, Human Small World, 2011, Papier-mâché, 60 x 20 x 20 cm

Jana Euler, Human Small World, 2011, Papier-mâché, 60 x 20 x 20 cm (image Carlos/Ishikawa)


The Hawker, 2014, Installation view (image Carlos/Ishikawa)


Oscar Murillo, another kind of breed (detail), 2014, Wooden crates and porcelain 34 x 72 x 183 cm (image Carlos/Ishikawa)