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
ETA 194-2018, Museum Ludwig, Cologne, Germany, 2018
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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