當《雙協奏曲》的樂音響起，燈光隨即錯落映照於彩色百葉窗上，忽爾似回憶中的粼粼波光流動，忽爾在明暗之間隱喻著敘事的悲歡離合。經由光影節奏與流動的音符，大型靜態裝置彷彿化身音樂劇舞台，為聲音賦予結構，令光線展演出情緒，使觀者透過視覺與聽覺感知作品，進入豐富而獨特的沉浸式藝術體驗。
When the sound of Double Concerto begins to resonate, light falls in shifting patterns across the colored Venetian blinds, at times resembling rippling reflections of memory, at others suggesting the emotional fluctuations of narrative between light and shadow. Through the rhythm of light and the flow of musical notes, the large static installation seems to transform into a theatrical stage, giving structure to sound and allowing light to perform emotion. Viewers perceive the work through both sight and hearing, entering a richly immersive and distinctive sensory experience.
▸ 梁慧圭，《Star-Crossed Rendezvous》，2024。展覽《Leap Year》現場，Hayward Gallery，英國倫敦。攝影｜Mark Blower。
Haegue Yang, Star-Crossed Rendezvous after Yun, 2024. Installation view of Leap Year, Hayward Gallery, London, United Kingdom. Photo | Mark Blower.
▸《Haegue Yang: Star-Crossed Rendezvous》展覽現場，MOCA Grand Avenue，2026。圖片由 The Museum of Contemporary Art（MOCA）提供 攝影｜Zak Kelley
Installation view of Haegue Yang: Star–Crossed Rendezvous, MOCA Grand Avenue, 2026. Courtesy of The Museum of Contemporary Art (MOCA). Photo | Zak Kelley
▸ 北京, 攝影｜Tang Xuan。
Beijing. Photo | Tang Xuan
▸ 北京, 攝影｜Tang Xuan。
Beijing. Photo | Tang Xuan
▸ 梁慧圭，《Star-Crossed Rendezvous after Yun》，2024。展覽《Leap Year》現場，Kunsthal Rotterdam，荷蘭鹿特丹。攝影｜Marco De Swart。
Haegue Yang, Star-Crossed Rendezvous after Yun, 2024. Installation view of Leap Year, Kunsthal Rotterdam, the Netherlands. Photo | Marco De Swart.
韓國藝術家梁慧圭（Haegue Yang，1971 年生於首爾，現居首爾與柏林）擅長以日常功能性物件打造大型裝置作品。百葉窗原是一種透過可調式葉片控制光線並組織空間關係的窗飾系統，自 2000 年代中期以來便成為梁慧圭創作中的核心媒材。受到抽象形式生成力量的啟發，她透過光線、色彩與聲音的編排，構築沉浸式感官體驗，創造超越語言界限的感知場域。
Korean artist Haegue Yang (b. 1971, Seoul; lives and works in Seoul and Berlin) is known for large-scale installations that employ everyday functional objects. Venetian blinds—originally a window system designed to control light through adjustable slats and organize spatial relations—have been a central material in her practice since the mid-2000s. Inspired by the generative power of abstraction, she orchestrates light, color, and sound to construct immersive sensory environments, creating fields of perception that transcend linguistic boundaries.
▸ 梁慧圭，《Star-Crossed Rendezvous after Yun》，2024。展覽《Leap Year》現場，Hayward Gallery，英國倫敦。攝影｜Mark Blower。
Haegue Yang, Star–Crossed Rendezvous after Yun, 2024. Installation view of Leap Year, Hayward Gallery, London, United Kingdom. Photo | Mark Blower
此次她於洛杉磯當代藝術館（MOCA）的展覽《Star-Crossed Rendezvous》，便展出兩件相隔近十年的重要百葉窗裝置作品：《Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored》（2015）。這件單色裝置作品取材自美國觀念藝術家 Sol LeWitt（1928–2007）著名的立方體結構。梁慧圭挪用其開放式立方體形式，並以密集堆疊的百葉窗取而代之，透過層層交錯的角度結構，在透明與遮蔽之間形成流動變化的視覺效果。
Presented at the Museum of Contemporary Art, Los Angeles (MOCA), Star–Crossed Rendezvous brings together two significant Venetian blind installations created nearly a decade apart: Sol LeWitt Upside Down – K123456, Expanded 1078 Times, Doubled and Mirrored (2015). This monochromatic installation draws on the iconic cube structures of American conceptual artist Sol LeWitt (1928–2007). Yang reconfigures LeWitt’s open cube forms by replacing them with densely layered Venetian blinds, producing a shifting visual condition between transparency and opacity through interwoven angular structures.
▸ 梁慧圭，《Star-Crossed Rendezvous after Yun》，2024。展覽《Leap Year,》現場，Hayward Gallery，英國倫敦。攝影｜Mark Blower。
Haegue Yang, Star–Crossed Rendezvous after Yun, 2024. Installation view of Leap Year, Hayward Gallery, London, United Kingdom. Photo | Mark Blower
展覽另一側則為《Star-Crossed Rendezvous after Yun》（2024），向作曲家兼政治異議人士 Isang Yun（1917–1995）致敬。作品透過與尹伊桑《雙協奏曲》（1977）同步的動態燈光，賦予幾何結構鮮活的生命力。此曲援引韓國民間傳說，作為對朝鮮半島分裂處境的隱喻。
On the other side of the exhibition is Star–Crossed Rendezvous after Yun (2024), a tribute to composer and political dissident Isang Yun (1917–1995). The work’s geometric formations are animated by synchronized dynamic lighting alongside Yun’s Double Concerto (1977). In this composition, Yun draws on Korean folklore as a metaphor for the divided Korean Peninsula.
▸ 梁慧圭，《Star-Crossed Rendezvous》，2024。展覽《閏年》現場，Kunsthal Rotterdam，荷蘭鹿特丹。攝影｜Marco De Swart。
Haegue Yang, Star–Crossed Rendezvous after Yun, 2024. Installation view of Leap Year, Kunsthal Rotterdam, the Netherlands. Photo | Marco De Swart.
她的創作經常源自特定歷史事件或人物，但這些參照往往隱而不顯。藝術家將此方法稱為「孵育式抽象」（incubated abstraction），將歷史脈絡作為作品潛在的結構基礎，在過去與現在之間建立開放而滲透的關係，進而孕育新的可能性。展覽藉由並置兩件使用相同媒材、相隔近十年的作品，使其互相映照而仍保留解讀的缺口，體現出藝術家長期對「非對稱性」（asymmetry）與「雙重性」（doubling）主題的探索。
Yang’s practice often stems from specific historical events or figures, though these references frequently remain obscured. The artist refers to this method as “incubated abstraction,” in which historical context serves as a latent structural foundation for the work, establishing an open and permeable relationship between past and present, thereby generating new possibilities. Through the juxtaposition of two works made nearly a decade apart using the same material, the exhibition constructs a relationship of mutual reflection while remaining incomplete, embodying the artist’s long-standing engagement with the themes of asymmetry and doubling.
▸《Haegue Yang: Star-Crossed Rendezvous》展覽現場，MOCA Grand Avenue，2026。圖片由 The Museum of Contemporary Art（MOCA）提供 攝影｜Zak Kelley
Installation view of Haegue Yang: Star–Crossed Rendezvous, MOCA Grand Avenue, 2026. Courtesy of The Museum of Contemporary Art (MOCA). Photo | Zak Kelley
▸ 攝影｜Zak Kelley
Photo | Zak Kelley
▸ 攝影｜Zak Kelley