Storage Piece
2004

Wrapped and stacked artworks, europallets
Dimensions variable

Haubrok Collection, Berlin

 

Installation view of Alterity Display, Lawrence O’Hana Gallery, London, UK, 2004
Photo: Lawrence O’Hana Gallery

 

Installation view of Kasse, Shop, Kino und Weiteres, Landesmuseum, Darmstadt, Germany, 2004
Photo: Wolfgang Fuhrmannek

 

Speech for Storage Piece
2004

Performance and recording, 1 local actor, ca. 10 min, sound system


Installation view of Your Bright Future: 12 Contemporary Artists from Korea, LACMA, Los Angeles, USA, 2009
Photo © 2009 Museum Associates/LACMA

 

Installation view of If I can’t dance, I don’t want to be part of your Revolution, Episode II: Feminist Legacies and Potentials in Contemporary Practice, De Appel, Amsterdam, Netherlands, 2006
Photo: Sal Kroonenberg

 

Interview with Haegue Yang and Binna Choi
Newsletter of BAK, basis voor actuele kunst, Utrecht, March 2006

 

Storage Piece originated from a deficiency in the artist’s space while participating in a residency program in London. Lacking a storage space, the artist collected all of the pieces returned after different exhibitions and titled it Storage Piece. Arranged neatly on top of four standardized wooden pallets just as they were packaged by the shipping companies, it is a rechristening of 13 of Yang’s earlier works. Since its debut in the UK, Storage Piece has been shown in Darmstadt, Berlin, São Paulo, Amsterdam, Hanover and Bregenz. At the 2007 exhibition Unpacking Storage Piece at the Haubrokshows in Berlin, the various works stored in the piece were unpacked and displayed in a new form. It has also been shown in a gradual process of being unpacked at exhibitions in Los Angeles, Houston, and other locations. In this way, Storage Piece hints at the various conditions and fates of an artwork from its creative reconstruction, the exhibition practice, to the problems of storage and selling. Meanwhile, Speech for Storage Piece — also presented here—gives life to the content and context of individual works of art that are not immediately accessible. It provides information that cannot be gleaned from the packing slips stuck to the works (which reveal only the contents and volume of the works), inducing the viewer to confront the psychological contexts such as the artist’s beliefs, doubts, and concerns.

(Shooting the Elephant 象Thinking the Elephant Exhibition Catalogue, Leeum, Samsung Museum of Art, Seoul, South Korea, 2015)

 

Exhibition history

Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul, South Korea, 2015

Arrivals, Kunsthaus Bregenz, Bregenz, Austria, 2011

Your Bright Future: 12 Contemporary Artists from Korea, LACMA, Los Angeles, Museum of Fine Arts, Houston, USA, 2009

Unpacking Storage Piece, Haubrokshows, Berlin, Germany, 2007

Made in Germany, Kestnergesellschaft, Sprengel Museum and Kunstverein Hannover, Germany, 2007

If I can’t dance, I don’t want to be part of your Revolution, Episode II: Feminist Legacies and Potentials in Contemporary Practice, De Appel, Amsterdam, Netherlands, 2006

Como Viver Junto (How to Live Together), 27th Bienal de São Paulo, São Paulo, Brazil, 2006

Kasse, Shop, Kino und Weiteres, Landesmuseum, Darmstadt, Germany, 2004

Cork Caucus, Sculpture Factory, Cork, Ireland, 2005

Alterity Display, Lawrence O’Hana Gallery, London, UK, 2004

 

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