From mundane objects such as Venetian blinds, theatrical lights, infrared heaters, fans and metal stands, Korean artist Haegue Yang (born 1971) creates complex installations that trade on the immersive familiarity of domestic props to disquiet the viewer in the subtlest of ways. Artificial manipulations of intangible sensual experiences such as heat, odor and light further heighten the elusive spatial evanescence of her works. For her 2009 sculpture Sallim, Yang created a full-scale model of her kitchen in Berlin, free from many of the things that are attributes of the ordinary concept of work in terms of social effectiveness/productivity, as she describes it. What remains is more like the bare outline of a kitchen, with its structural and indeed conceptual solidity rendered provisional and strangely dubious. Haegue Yang: Arrivals presents a catalogue raisonne of the artist's works to date, revealing her to be one of today's most intriguing young artists.