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Haegue Yang

View of Haegue Yang, “Closures,” 2010, Galerie Barbara Wien Wilma Lukatsch, Berlin. Foreground: Non-Indépliable, blanc déteint (Non-unfoldables, White Fades), 2010. Background: Non-Indépliable, la tour verte (Non-unfoldables, the Green Tower), 2010. Photo: Nick Ash.

I HAVE OFTEN USED venetian blinds in my installations because of their double identity: They contain things—but they also let the gaze, even scent, pass through. They act as a filter, albeit a dysfunctional filter. The same goes for style. Both are a way of shaping things.

My recent work continues to explore this condition of filtering and forming, focused on what I call closures. I was looking for a word that evokes wrapping material: a surface that we see but that also functions as a container, mediating between outer world and inner content. They enclose abstract space even as they themselves are also surfaces, layers.

So I was very interested in what types of closures surround us and how much they affect us—even the most banal, domestic items, such as British tea cozies or clothes-drying racks. The latter, for example, are designed to be folded and put away, a purely

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