韓国出身、ドイツと韓国を拠点に活動するアーティスト、ヤン・ヘギュ（Haegue Yang / 양혜규）の作品集。近年の作者の制作にあたり多く興味と影響を与えてきた、神聖な紙を切り抜き霊を吹き込む韓国のシャーマニズム儀式にまつわる作品を紹介する一冊。2022年10月から12月にかけてフランス・パリのギャラリー「Galerie Chantal Crousel」で開催された展覧会に伴い刊行された。

過去数年間、作者は精神（スピリット）と物質の間に生じる相反するものの両面性とその共存性（アンビバレント）について研究し、ヨーロッパの異教信仰からアジアのシャーマニズムに至るまで、多様な神秘的実践を調べてきた。近年、作者の関心はさまざまに異なる紙切り細工の伝統へと向き、特に楮（こうぞ）を原料とする伝統的な韓国の手漉き紙である韓紙（ハンジ）の神聖な特性に関しては、作者の作品「Mesmerizing Mesh」に深く関係している。

2022年、同展覧会で人類学者であるニコラス・ビューロー（Nicolas Bureau）と作者は出会い、のちに対談を行った。シャーマニズム、旅、アーティストたちと人類学者たちの立場、知識の領域間における境界を超えていくことについて、共に語り合っている。

英語、フランス語併記。

New monograph, devoted to Haegue Yang's "Mesmerizing Mesh" series, which dwelves into "Sacred Paper Cutting", a Korean shamanastic ritual which has inspired many of her recent projects.

For several years, Haegue Yang has been studying the ambivalent relationship between spirit and matter and investigating mystical practices, from European paganism to Asian shamanism. In recent years, his interest has turned to different paper-cutting traditions, particularly the sacred dimension of hanji, a traditional Korean paper made by hand from mulberry pulp, from which the Mesmerizing Mesh series is inspired. After their meeting in Paris, during the opening of the exhibition at the Chantal Crousel Gallery in 2022, Haegue Yang and Nicolas Bureau had the conversation that accompanies the works reproduced in this book. Together they talked about shamanism, travel, artists' and anthropologists' status, and transcending the boundaries between fields of knowledge.

Nicolas Bureau is an anthropologist who has been studying human-animal relations among animist populations for several years. During his thesis work, carried out under the direction of Philippe Descola and Charles Stépanoff at the École des Hautes Études en Sciences Sociales, he spent several months with the Siberian Evens, a Tungus people practicing nomadic pastoralism, sharing with them the lifestyle of reindeer herders.

Haegue Yang (born 1971 in Seoul, lives and works in Berlin and Seoul) is one of the most influential Korean artists of her generation. Using several media, from collage to performance, she explores the sensual and formal properties of everyday objects and materials (venetian blinds, fans, infrared detection devices, etc.), taken out of their original context and rearranged into abstract compositions, investing them with a new, poetic meaning with political or emotional overtones. Her often abstract constructions are in fact sensory experiences whose crux is an implicit critique of the modern.

Haegue Yang represented South Korea at the 2009 Venice Biennale. She has also shown at Documenta (Kassel), the Walker Art Center (Minneapolis), the ICA (Boston), the Samsung Museum of Art (Seoul), the 13th Lyon Biennale...
Haegue Yang has been awarded the 2018 Wolfgang Hahn Prize.