Globetrotting artist of the everyday object
Yang has become ubiquitous of late: her largescale installation work recognisable in biennials and group shows for its recurring use of Venetian blinds and faux-folkloric straw woven work. Oblique in meaning and monstrous in form, these nonetheless beguiling spectacles could this year be found everywhere from the Liverpool and Sydney biennials to (counterintuitively) the National Gallery Singapore’s survey of Minimalism. European audiences had the easiest access to her work this year (the Berlin-based artist is a professor at the Städelschule in Frankfurt): having won the Wolfgang Hahn Prize in 2017, an attached career survey was staged at Museum Ludwig, Cologne, in the spring, concurrent to a solo show at Kunsthaus Graz; in the autumn she took on La Panacée – MoCo in Montpellier and La Triennale di Milano. It is a relentless career that, after she was illegally blacklisted by the previous government, is now being appreciated in her native South Korea: this October she received the Republic of Korea Culture and Arts Award.