Marking Haegue Yang’s first exhibition in Aotearoa New Zealand, 'Triple Vita Nestings' brings together diverse works from more than a decade of Yang’s practice.
Although formally distinct, the works presented in this exhibition are inextricably linked – from the artist’s latest video essay 'Doubles and Halves – Events with Nameless Neighbors' (2009), to the audio work 'The Story of a Bear-Lady in a Sand Cave' (2009/2011) and the venetian blind installation 'Lethal Love' (2008/2018). Evoking the biographies of historical figures, mythical creatures, and self-reflective ideas of alienation and neighbourliness, each character nests within another, representing our interwoven, interconnected realities.
Alongside the early, seminal work 'Chalk Line Drawing' (2002- ), Yang continues her series 'VIP’s Union' (2001- ) with a version for the Govett-Brewster. Leading local figures, ‘VIPs’, from different areas of society including culture, sports, business, and politics, are invited to lend their choice of chair or table for the duration of the exhibition. The resulting collection of assorted furniture forms a temporary ‘community’ within the gallery, creating a portrait of New Plymouth and wider Taranaki while also serving as a rest area open to all visitors to the gallery.
Alongside the exhibition, the artist has conceived a film programme that will run throughout the exhibition. See the calendar section for the film details.
'Triple Vita Nestings' is a touring exhibition organised by the Institute of Modern Art (IMA), co-curated by Aileen Burns and Johan Lundh with Sarah Wall at the Govett-Brewster Art Gallery. 'Umbra Creatures by Rockhole' (2017-2018) as well as the reconstruction of 'Lethal Love' (2008/2018) were made possible through partnership with 21st Biennale of Sydney, Australia Council for the Arts, Korea Foundation and assistance from Institut für Auslandsbeziehungen.
Marking Haegue Yang’s first exhibition in Aotearoa New Zealand, 'Triple Vita Nestings' brings together diverse works from more than a decade of Yang’s practice.
Although formally distinct, the works presented in this exhibition are inextricably linked – from the artist’s latest video essay 'Doubles and Halves – Events with Nameless Neighbors' (2009), to the audio work 'The Story of a Bear-Lady in a Sand Cave' (2009/2011) and the venetian blind installation 'Lethal Love' (2008/2018). Evoking the biographies of historical figures, mythical creatures, and self-reflective ideas of alienation and neighbourliness, each character nests within another, representing our interwoven, interconnected realities.
Alongside the early, seminal work 'Chalk Line Drawing' (2002- ), Yang continues her series 'VIP’s Union' (2001- ) with a version for the Govett-Brewster. Leading local figures, ‘VIPs’, from different areas of society including culture, sports, business, and politics, are invited to lend their choice of chair or table for the duration of the exhibition. The resulting collection of assorted furniture forms a temporary ‘community’ within the gallery, creating a portrait of New Plymouth and wider Taranaki while also serving as a rest area open to all visitors to the gallery.
Alongside the exhibition, the artist has conceived a film programme that will run throughout the exhibition. See the calendar section for the film details.
'Triple Vita Nestings' is a touring exhibition organised by the Institute of Modern Art (IMA), co-curated by Aileen Burns and Johan Lundh with Sarah Wall at the Govett-Brewster Art Gallery. 'Umbra Creatures by Rockhole' (2017-2018) as well as the reconstruction of 'Lethal Love' (2008/2018) were made possible through partnership with 21st Biennale of Sydney, Australia Council for the Arts, Korea Foundation and assistance from Institut für Auslandsbeziehungen.
