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  • Front Cover Image-Haegue Yang
  • Deatail Image-Haegue Yang

Suzanne Cotter, Porto, 2016.

Softcover, 120 pp., color & bw illustrations, 23 x 30 cm.

The work, covering nearly 70 square meters is composed of five architectural fragments topped with industrial vents in various dimensions. Resembling the iconic arched entrance of Islamic architecture, the tower-like forms differ in design but occupy the same square footage and connected by paving stones set in a geometric layout. In this ambitious work the artist was inspired by In the artist’s sculptural approach, the layout of Islamic symmetric geometry is conventionalized in the form of the hexagon as six point geometry – by joining the intersections or folds of six circles, the basis of Yang’s decorative pattern is formed. This pattern, notably in hexagon form, are in the unit size of approximately 72 x 72 cm and raised to different heights to become either a slab or a tower. The bricks are constructed from clay- fired bricks in three subtle colors, ranging from yellow (which predominates) to two tones of grey, light and dark.

An Opaque Wind Park in Six Folds invites the viewer to walk around its hybrid landscape, and in between its multiplying structures. A birdbath, and diverse types of plants and vegetation embellish the magical space that will frame a full cycle of growth and decay over the duration of the work’s installation. Sensory elements such as air temperature and wind will also become significant parts of Yang’s installation, and combine with the presence of the turbine vents to confuse nature and design. Inspired by the traditional wind towers used in buildings in the Arabian and Persian Gulf to cool interiors, the artist first referenced the vents in her installation An Opaque Wind at the 12th Sharjah Biennial in 2015—a work that reflected her interest in different histories of industrial production and associations with stability and universality. In An Opaque Wind Park in Six Folds, this method is integrated as a decorative element to its towers. Their significance within the complex of towers, brick, and wildlife further highlights the work as an expression of communities and the interrelations that is required for co-existence in today’s globalized age.

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