LONDON.- The Hayward Gallery presents Haegue Yang: Leap Year (9 October 2024 - 5 January 2025), the first major UK survey of the internationally celebrated artist. Considered to be one of the leading artistic voices of her generation, Yang’s work is both spellbinding and boundary-pushing, probing into contemporary ideas of cross-cultural pollination, modernism and folk traditions, and personal and political histories. Leap Year illuminates Yang’s multifaceted, interdisciplinary and highly inventive practice from 1995 to today, echoing the Hayward Gallery’s mission, as part of the creative engine of the Southbank Centre, to champion artists from across the world whose ideas challenge and spark new ways of thinking.

Arranged into five thematic zones, the exhibition includes three major new commissions and several new productions which creates a captivating visual and sensory experience through installation, sculpture, collage, text, video, wallpaper and sound. Yang’s artwork often transforms everyday domestic items and industrial objects, from drying racks and light bulbs to nylon pom-poms and hand-knitted yarn, into distinctive sculptures and multimedia installations that engage the senses. Leap Year features key works from some of her most notable series including Light Sculptures, Sonic Sculptures, The Intermediates, Dress Vehicles, Mesmerizing Mesh and the Venetian blind installations.

Newly commissioned Sonic Droplets in Gradation – Water Veil (2024) is part of Yang’s ongoing Sonic Sculptures (2013 - ) series. Visitors are invited to walk through a curtain of blue and silver stainless-steel bells which trigger sonic reverberations, signalling their arrival. The materiality of the work is steeped in layers of references, from East Asian traditions and folklore to modernism, contemporary art history and nature, and acts as a physical gateway into an artistic world imagined by Yang.

Modular structures, geometries and movements are some of the main considerations in Yang’s practice. Sonic Dress Vehicle – Hulky Head (2018) and Sol LeWitt Vehicle – 6 Unit Cube on Cube without a Cube (2018) are two large sculptures adorned with bells, macramé surfaces or blinds. These artworks will be activated intermittently during the exhibition’s run; pushed and pulled on a floor vinyl that is inspired by meteorological charts.

Yang’s recent work investigates the relationship between matter and spirituality. Working with mulberry paper, Yang explores the use of this material in ancient belief systems and practices. In her series of collages, Mesmerizing Mesh (2021 - ), the artwork references sacred and ritualistic paper objects related to shamanism and folk or pagan traditions, while The Intermediates (2015 - ) features hybrid ‘creature-like’ sculptures made from artificial straw that draws from global weaving techniques.

The exhibition also re-presents and reimagines Sadong 30 (2006) after 18 years. This project was set in Yang’s unoccupied family home for 8 years outside Seoul. Carrying the house’s address as the project title, Sadong 30 was the artist's first solo show in her home country. It was also regarded as her most profound breakthrough, leading to many of her future artistic developments.

Leap Year also features reflections on domesticity, intimacy and everyday gestures and objects. Series of Vulnerable Arrangements – Version Utrecht (2006) is Yang’s first and seminal work made with Venetian blinds, which has become one of her most iconic and recognisable mediums. Yang is drawn to Venetian blinds for their obliqueness, semi-transparent quality, and their capacity to divide and configure a space.

Leap Year concludes with an ambitious new commission of a large-scale Venetian blind installation, Star-Crossed Rendezvous after Yun (2024). This work features ascending layers of Venetian blinds in varying formations and colours that guide visitors through the space, alongside two breathing stage lights and a historic musical score. Yang’s work often highlights underrepresented, even obscured, yet pioneering and referential figures of modernism. This new artwork was inspired by Double Concerto (1977), created by the late Korean composer and political dissident Isang Yun (1917-1995). Other 20th-century figures appearing in her oeuvre include Marguerite Duras, Sol LeWitt, Sophie Taeuber-Arp, Félix González-Torres and Yves Klein, amongst others.

An accompanying catalogue with full illustrations has been published, including two newly commissioned essays by Hayward Gallery Senior Curator Yung Ma and art writer Pablo Larios. Designed by Wolfe Hall, the catalogue also features an interview with the artist by curator and art

historian Lynne Cooke and an illustrated chronology by the Taipei-based graphic and visual artist Chihoi.

Haegue Yang says: “My artworks often have very long names with seemingly odd combinations of words that are hard even for me to memorise, whereas my exhibition titles are much simpler. This naming tradition mirrors my relationship to art-making versus exhibition-making. Art making is like weaving together a piece of complex, and therefore impossible to unweave, fabric, while exhibition making is like tailoring it into something comfortable to wear. Both acts are eager attempts towards perfection. For this survey show, I deliberately unfocused my eyes to obtain the hidden 3D vision of my own practice, which is a rare, perfect occurrence like a leap year.”

Ralph Rugoff, Director of the Hayward Gallery, says: "The Southbank Centre is committed to sparking new ways of thinking and experiencing art, and in line with that mission the Hayward Gallery is delighted to present a solo survey exhibition devoted to Haegue Yang's extraordinarily inventive work from the past two decades. Yang is one of the world's most pioneering artists and consistently pushes the boundaries of what an artwork can be and how it is presented with true imagination and creativity.”

Yung Ma, Senior Curator of the Hayward Gallery, says: “Haegue Yang has consistently sought to expand our perception of what it means to be culturally fluid or socio-politically engaged artistically, creating series after series of works that are at once sensual, expressive and captivating. Leap Year strives to be a true reflection of Yang’s vision, weaving together disparate threads that juxtapose histories of recent and ancient pasts with personal experiences and the contemporary condition to give visitors a deeply sensitive, engaging and enthralling experience.”

Haegue Yang: Leap Year is curated by Hayward Gallery Senior Curator Yung Ma with Assistant Curator Suzanna Petot and Curatorial Assistant Charlotte Dos Santos. The exhibition will travel to Kunsthal Rotterdam (1 March - 31 August 2025) and Migros Museum für Gegenwartskunst, Zürich (27 September 2025 – 19 January 2026).

Haegue Yang (b. 1971, Seoul) lives and works both in Berlin and Seoul since mid 90’s and teaches at her alma mater, Städelschule in Frankfurt am Main since 2017. Spanning a vast range of media—from paper collage to performative sculpture and room-scaled sensorial installations—Yang’s work links disparate histories and traditions in her distinctive visual abstraction, yet always escaping from definition. The artist draws on a variety of crafts, techniques, materials, and the cultural connotations they carry: from drying racks to Venetian blinds, hanji to artificial straw. Yang’s multisensory environments activate perception beyond the visual, creating immersive experiences that treat issues such as labour, migration, and displacement from the oblique vantage of the aesthetic. Her recent solo exhibitions have taken place at institutions including: Helsinki Art Museum (2024); National Gallery of Australia, Canberra (2023), S.M.A.K., Ghent (2023); Pinacoteca de São Paulo (2023); SMK – National Gallery of Denmark, Copenhagen (2022), Tate St Ives (2020); MoMA – The Museum of Modern Art, New York (2019); and Museum Ludwig, Cologne (2018).