Star-Crossed Rendezvous
The Museum of Contemporary Art, Los Angeles•Feb 24, 2026 — Aug 02, 2026
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Haegue Yang (b. 1971, Seoul; lives in Seoul and Berlin) is known for large-scale installations that employ utilitarian objects. Motivated by the generative power of abstraction, Yang choreographs immersive encounters with light, color, and sound, creating heightened sensory environments that communicate beyond language. Her works often draw on specific historical narratives and figures, yet these sources remain mostly concealed. Through what the artist describes as “incubated abstraction,” historical references function as latent structures for the work, creating a porous relationship between past and present where new possibilities emerge.
Star-Crossed Rendezvous brings together two major installations executed using customized venetian blinds, a window treatment designed with adjustable angled slats that filter light and structure spatial relationships. This material has been central to Yang’s practice since the mid-2000s, allowing the artist to engage with the viewer’s perception…
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Star-Crossed Rendezvous
The Museum of Contemporary Art, Los Angeles•Feb 24, 2026 — Aug 02, 2026
Press Release
Haegue Yang (b. 1971, Seoul; lives in Seoul and Berlin) is known for large-scale installations that employ utilitarian objects. Motivated by the generative power of abstraction, Yang choreographs immersive encounters with light, color, and sound, creating heightened sensory environments that communicate beyond language. Her works often draw on specific historical narratives and figures, yet these sources remain mostly concealed. Through what the artist describes as “incubated abstraction,” historical references function as latent structures for the work, creating a porous relationship between past and present where new possibilities emerge.
Star-Crossed Rendezvous brings together two major installations executed using customized venetian blinds, a window treatment designed with adjustable angled slats that filter light and structure spatial relationships. This material has been central to Yang’s practice since the mid-2000s, allowing the artist to engage with the viewer’s perception…
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