Haegue Yang is known for her dazzling, dizzying multimedia installations. In Kimono Temple, 2010, two venetian blinds – the artist’s most recognizable motif – swing and cascade gracefully, inviting viewers to constantly re-negotiate their relationship to the work. Indeed, central to Haegue’s hybrid practice is the idea of exchange, and she uses philosophical and spiritual ideas as alchemy to transform quotidian materials and negate their assumed meanings. As she explained, ‘My driving interests and motivations are often concrete, but my artistic language is one of abstraction… Circulating around the installation becomes an experience of ‘blind’ or ‘silent’ communication, a negation of acquired knowledge and the opening of a new space, a position of uncertainty that enables a discovery and a shift in perspective. I see this as manoeuvring the rules of experience, and it has become an important aspect of my blind installations’ (H. Yang interviewed by A. Dickie, ‘Haegue Yang in Conversation (Part One)’, Ocula, 21 August 2014). Born in South Korea, Haegue has shown at the Centre Georges Pompidou, Paris, the New Museum, New York, Documenta 13, Kassel, among others and, in 2009, she represented South Korea at the 53rd Venice Biennale; currently, her exhibition, Handles, is on view at the Museum of Modern Art, New York, as part of the recently renovated museum’s opening season.