infoart exhibit - vasulkavasulka.org/archive/exhthree/kwangjubiennial/gallery... · 2012-06-02 ·...
TRANSCRIPT
95 KWANGJU BIENNALE
-iTdl"I MX11
000
InfoART Exhibit
1995 . 9. 20 . - 11 . 20 .City Art Museun~Woor
AN T,43, 10Biennale Exhibition Hall A 1st flooroTel °~~
-~~l
jAl
- A-'g- 1
InfoART CommitteeDirector: Nam June Paik
1'1pCynthia Goodman
AIAlo} -Curator: Kim Hong-hee
he InfoART Exhibition was made
possible through the ideas and under the planning of Nam June Paik
It can be divided into three parts .
art I is titled "Interactive in Arts & Toolmaking," and it is in
some ways the highlight of the- exhibition . This section includes
an interactive high-tech art most of which utilizes the computer .
Jointly curated by Nam June Paik and Cythia Goodman, 25 artistswere selected .
art II is titled "Asian Video Art & Multimedia ." In contrast tox Part I, which was organized at the international level without
any regional constraints, Part II is limited to artists from Asia .
Part II is subdivided into- 'Asian Video Installations' and 'Korean
CD-ROMS . ' Curator Kim Hong-hee selected 13 video artists and
5 computer artists respectively .
art III titled "Whole World Video," is a collection of videotapes .'s In the first half coordinated by Stephen Vitiello, the videotapeworks of 42 artists were selected by 12 video art curators fromaround the world . The second part introduces Asian video . Forthis, Kim Hong-hee selected a total of 9 artists from the Asianregion .
~D~l~. Lio ~0~~21 zorl[ ]IslO
WAolToiAA°°-oi LHo° 3- 1 3
-~
z111T °IEJOHEId 011*11 [ FHR[o ;11- ~ Lixl21 [012[01
x1 T~~~uEiz sFgo~ olEi o,Eld o[olE~l3 o[Ez Lin1`FC[ . ~o~~~[ `1x10[
°H21oTT e zo
o , 2]Io l of °-X 250-121 Ar71z ^i ois[°~CF .
X112
'o[xlo[ HIG2 & zEI°IGW DjI*'fxi, 1T alEi~E1d 1101 zl0M
Xil_FoCAiol ~~ilxaog L1xis1 dfol 2d
oho dl~oF --E-90 xF7l=zall -_FLICf .w--E-90o
~
2
C[nl 'o[xlo[ dlEl2 zixl~l 'l[ 'U-°°l CD-ROM' 0 51 -=~ILdI, ola°I-I,failolololl -IaH 7171 13°121 HIClo 'xlO1l9)[2[ 5°I21 AJ~Ej oil 7 z
`izFofAACF .
x113 'LUih11-I dIG°'~ UIG2E1101= o-gojl*z izH~IL
dIEI2H101 =,PodolE[ ^EI-~ dlElz F_Oil -I~H ~01 Lid[
Aih11 ~'
12°1-I
UIG2D1l
420-1 1-47[2l dIG2Hl0l-0[x10[21 d1C1a o'o[Djl*z ^1yol- --dFToil - 010°17[ Cioi_F 90_121 o[Alo[2r2
P[oroi ~fE[
Edmond CouchotThe Dandelion
011R-v6- ~A<U2541>
' he theme of the InfoART exhibition is'interactivity .' In other words, it is the creation of a interactive art thatmakes possible intersubjective communication between art and the viewer .As seen from the dictionary definition of information, i .e ., "the act ofinforming" or "being informed," information art must be in the form of adialogue. In a way, all art can be considered information art. Line, color,form and sometimes action can play the role of the information as anartistic language or a sign system . However, in the era of information inwhich we live today, what we mean by information art is the art thatutilizes today's information technology . And because it utilizes theinformation technology, it is also a kind of technological art . However,information technology in the post-industrial era is unlike the technologyof the past . It is high' technology that relies on Artificial Intelligence .Because of this, information art can also be called high-tech art or digitalart . Introducing interactive high-tech art is one of the primary objectivesof the InfoART exhibition .
s we call art that uses technology, technological art, we now .call art that uses information technology, information art . `No
doubt, information technology utilizes all technologies, but it isvery distinctly different from technologies of the past . Whereasthe technologies of the industrial era meant the extension ofphysical functions, the present information technology of the post-industrial era can be represented as the extension of thefunctions of the brain . The expansion of the brain goes beyondtechnological conveniences but brings about ecologicaltransformations which regulate the thoughts and behaviors ofhuman beings and changes that occur in the social order due tosuch transformations . In this sense, the meaning and direction ofinformation technology should be fully recognized . (Kim Hong-hee)
b
O_YoJl
"L-I TlzlL 'oJEd.HE1u , o[E, ao~l~l[ ~F~HLF°-I o"~T~E~1 ioz 71o~i1~~ EHs[o o~l~°-I o"doll °,'~EF 'zzl`
¢L oF T. /.I
7Co"TI~
z2i
^[z'01z[` 0__1o_1 Al-11 ,T1
01111
__o[Xi = 111_Y_011*°LEHQFoolo1 ok_EF . 011`1 0foll^i QL 011*° _moll*0lz[__D_
T °,,C[. Li, AxH,tJEH f1HEL 9T17[ 011:9°10i, ir- 0-FLF2I 71-a"117I1E^i oi_Y_21 oafs T8A_[71rrH`o1C[ . =P-IL[ Tz17[ zF7 °1.~ 01 4[^1EH21 °moll ° -xdl~i°oE o1~71 zzFo°
~l1' z z°FC[ . 71*- zFo °FC[L 2101011^i oi~Oll ° 01 -1 Edl3z5~1o1Ig01E[ . aP-IL-[ T71tldn111Hs1 oiY_71*° 01`121 71*2- C[z)il °IoXlooENV' Toll-IL-[2 one` 0-FolEllaz --i,-,k[ofE[ . ~2d_f );[poll o~olla°o[01E]I3 o[E _Er` EIzIzF 0[Ez[L d['~01 zz T °; Edl,
71°Fdl^d = ;0 Ioil LizF21 71oz
[^14[~I`
IEi°;E1d`F o[o1Ed13 o[E' ::11~7Ho~ X1 01 oldsLi-I UXI-1 °I ~~1 olE[
71 z 01o2 t 011*z HI3-E^I 0[Ez[2 -2,1101, 01X11 -al- 11~71 z01g~F 011~z o1 _oll*0lz[2
C[ ~S oi~71 ~ 71*01 011` zo1 °Azl°F
~F^I off+`F°21 LF~71
012[2oE Tz7loll` L[71-1 71
L[` ~-21 ~f ^[0101 01OIC[ . [7d-I 71 , '~I `f°~1^I0H-I 71 01 CIz~l71o-1 sFCHz 2101`FC[°~, o-Iof
o 9
s4xFL c ^
7d 0171' yc zJ-~71 ° T~I_I sH
2101ofC[ . T~i21
°° FLo1 71~~
0[0i°ILF-I ^[l2[ oEHz 10101` oEH F-i dt4[2[ 2011 [4- ^[sli z'^d°-I dt4[z
~E2Ho1-L_- ?.i01 0i, olzdot OHaF0IIXj o1Y_71~921 21014[ ~a gTI' °I110k z101E[ (o'o°I)
e are at a crossroads . The future is
now . The world has been unified via words, texts, video and three-
dimensioal images . The art world has not only caught up with but also
embraced modern technology . Pen, pencil, paint, canvas, wood, metal,
marble, all still exist and in all probability will continue to do so for
sometime in the future . Yet at the same time, artists who wield these
materials will be just as likely to have a homepage as a studio : have
their works digitally catalogued and in print format; and show their works
in a commercial traditional gallery as well as simultaneously present it on-
line in a digital gallery . Perhaps what is most reassuring for the intrepid
Cybertaveler is that tradition need not be rejected when traversing habitats
in the new space . Both can harmoniously coexist . In fact, it seems as if
it is through this coexistence that some of the most fruitful investigations
of today are being made, investigations which expand our notions of our
traditional space and of Cyberspace and beyond as well .
espite the expense and the uncertainty, the global community
is committed to Cybertavel . InfoART celebrates this journey and
will hopefully guide today's voyager in the exploration of new
and unprecedented pathways which comprise a technical "rite de
passage . "(Cynthia Goodman)
'~'z1L 2FN-4011 MBE . o12H7F 0171011 01F_E .
zXfQf Ell^EQf dIG24f 3Xf~J XI ololzlz o~FoH MI-F01 ~F~f7F ¬ICE . ~I
7il~
M0N71*a1 oH.~L_I~Lzm_ oA I"JI _a,..'o_FCfu{li ~iz,
MF, ~N" I -, LrT 1 o"1:0 ,1101 OFD ~xHoF~ oFO r' zo1LE° ~xH
7,4014 . a214 0121 1 XH~zaz~oz~ xF7~~ ~F°'z'~ Aull0l~lz
'oiV 7,1011.4 . 001 YA 0141011TT-~uXIz1 ~f
z rah 7JOJC.F . rE-F 71LS1 sFo~oll~isf oE~F7Fzl~ saE°I 1X11
foFOlhJE. LJ^Ia t[ ,,1011f . 1HoFLf nFolai El~zfz° 7H~~ o?E-I T°l01 5171
TlJo1 iioz 71T zPJf 0Aaxla 5zz1f . aT7f iQId71l o~ T
MzHl-l»F z'~
7 F zz'M~ °~~-, io~H°Io2[ 7H'-o4
nfolei -1-A101 :! : 7&4z -MI ~zo~,~H~` 04Z
0l ~~I oLZ opH
o1Toixl21 M1f .
d1LE :gdlQf
al~
-r0fL, zl~-
° Afolaioia
AI~.sfli °,,1E . "
oi1011VL1- 0121-f Ogz fo0-L doll- W1z T 1A~~i 1H~R z', 71~~i
°off-I XilAPz
ooF= nH :&121 7H ;~al ~ i °zz-I oioz z °1 .~
T °~71z7141~f1F . (CI^lOF oN)
I ,
ow evolution leads us to the interactive
media across the world - instant and inexpensive and it is about time to
get together in Kwangju, Korea and think about i t . . . . .What will
happen in twenty years ? 2015 ? Sad fact is that I will be 83 years old .
Otherwise interactive art will be fine. In one way video art will surpass
herself in 1995-2015 in two-way video artivideo life .(Nam June Paik)
xil ~I-I zLi° Tzlz xlo 'oIEJOIElti
olG01'°I MI)iM
~Lf111012 dlnAlzlI-- -FIR a. OHQEm IIIGOi7E Xlo
oToll d'z~l Ll °.'1F_F . zof~f 71-0 1-
010174 . . . . 0 0O~ 20-- 0 ciiAI did7.1017[ . 2015Lo]lt 01`074? z~ ,k[-1a =r07E SI°f LH7F 83 101 ¬l~l
,,101E[ .
u0N.L OHM oll :9° LM, 711 nA11F -20/21 oil-iaialAl 1995-2015L Af0121
H
r~o 'H
n~F~o1 oFd 0F =d te1a¬°
zs-o .A,
zIG~o~ Oil*LIG1o1 oil~blG~o~
-0
z 01~o- ~i --
z
o7f~ 7`40114 . (dHoF`)
excerpts trom the lntoART catalogue
- 01 1*i'.~
14
InfoARTists and Their Works
co1 11:00VII AroP,17E x
ARTIST
ART WORK
Part I : Interactive in Arts and ToolmakingCurators : Nam June Paik, Cynthia Goodman
ARTIST ART WORK
Stephen Beck("EIeWI3) Video Weavings (dlqo -ISIiE)
Jean-Louis Boissier(oE-T-o1 T21A1oi1) Flora Petrinsularis( zl llij9?I_- 21zI~)
Benjamin Jay Britton (d~lzlolI x41o I C21E) Lescaux (21^1)
Edmond Couchot (01140 *:L ) The Dandelion (10211)
Luc Courchesne ( zal) Family Portrait (71;ioFsl)
Peter d'Agostino (RI El CIiEl~) String Cycles (tee o~ nlolz)
Douglas Davis(Ee21^ r4o Id I'-`) The World's First Collaborative Sentence(A41711 yl~-Io*_ X14 )
Paul Earls (z zj',) Music in/from/of the Rainbow(EI10IX191 §0401 :F)
Scott Fisher(:Lj uIAH) &Perry Hoberman(A121 113J°1)
Chimerium (31x121)
Paul Garrin (z 7H?I) White Devil (sl?1 0 `1-0 1)
Takahiko limura (E1501to1101T21) This is a Camera which Shoots This(01,101017 ia -1- 51 I012101E1)
Dieter Kiessling (GJEH Pendulum 1V (LHo TV)
Myron Krueger(o101E z74) Small Planet (xk° soi)
Nam June Paik(_H_FT) Laser Installation (211o1X4 zixl)
~R Robot K789 (_q_Y E K789)
Magnet TV (X[M, TV),
~~ Paik/Abe Video Synthesizer(gH/o"IIdIG° ~h1A101X1
David Rokeby(EQI01d1 _P,_adl) Watch (R_xrRj)
Buky Schwartz (*511 Video Seesaw (d IF-12 Al01 _-',2)
Jeffrey Shaw (zil=2l -) Revolution (t_io )
Christa Sommerer (a21_El °-21) &Laurent Migonneau (f_oF DID)
A-Volve (o11014d)
Wen-Ying Tsai (°11-0 Xlo1) Cybernetic Sculpture (°lo T ~~-,E)
Steina Vasulka (-^HI01E1 dl*311) Violin Power (d101s?I ul$l)
Grahame Weinbren (2Ho 21°Id2il) Sonata
KeigoYamamoto (74101101014¬ ) Between Sound & Sound no . 2(2.121 --l- al A101 No . 2)
Yoo Hyun-jeong (~ oi) The Door to One's Soul (010 °_)
Part II : Asian Video Installation and Korean CD-ROMCurator : Kim Hong-heel
Asian Video Installation
Choi In joon{ The Green Prophet K526(t1H-I ^Jxjx[K526)
Gu Xiong ( ) Here, There, Everywhere(01)1, X171,aa1-27 ~G011E1)
Hong Sung-min (oof°I) Man and Queen (1-1Eu411)
Kim Young-jin (2.10M)
Shigeko Kubota (A17411 ~-5IED Analog Garden (0Ellaoirl)
Niagara Falls (1-101017121 )
Skater (_^31101 Ei )
Moon Joo (0 T) Untitled Box (010 nlkE oFZl)
95 KWANGJU BIENNALE
E11111
11511111
131111
NamJune Paik Stonehenge (,°Iz)
~~ Horse Carrier(o[~[)
Park Hyun-ki ( 1_11 t_0 I) The Blue Dinning Table (T LF ~~ ~r)
Ellan Pau (.Iii u[T) Drained IV - Pledge (217.r IV- Ai -)
Wang Jian-wei ($F `IgloI) Reproduction (xd offLF)
Wang Junjieh (oF LX1al1) Chinese Secret Palace Dishes - ExpoVersion II (-cs -~q -~~g al)
Katsuhiro Yamaguchi (5?[T01-91 OkoFzl) Over the Garden No. 1 and No.2(1°J L.1oi s,' No .1, No .2)
Yuan Goang-ming (Tr°F2oFo) Fish on Dish (di^ITI-I -R271)
Na Kyung-ja(L[jz[)J
Video Performance (d1E1° ooi) :
AThinker(JH4ol-'_-ti[&F)
Korean CD-ROM
ARTIST ARTWORK
Chang Dong-hoon (x(4-g-L) 1995-6-29&KimMijung(,IIol-)
Choi Eun-kyung (yl°oa) Cybernetic Family (7k[oldiull. )[y)
Hong Suk-ki (I.1;11) & Stone Itself (z -I 9x221 )Lee Jong-ho (010°)
Kim Yoon (oI °) Cyberspace & Digital Mind(A[oldioLFi[EIzlzr[][°I )
Shim Gyoojin (o~~ ~I) Dream Tree ($LR)
Part III :Whole World Video (13 curators)
ARTIST ART WORK
Curator : Christine van Assche (3P-l_II d [~hr)
Jean-LucGodard (oE _ ,F_[z) On s'est tous de file
(~[o~z01~OI Eoi~~~[)ChristianeGeoffroy(3zl_El°F~ z4[) Geo-genetic (Xlzl
Philippe Ande(von (zzl- o M_2o) Star Life (^EF°_I of ou )
PierrickSorin(ulollFIizo1 ) ReveiIs(4oi)
Curator : Michael Biel icky (1][01`11 z~~~1)
Michael Bielicky(o[o1z zzl571) Next Year In Jerusalem(LHLall OilT0ro1al),i )
JankaVidova-Zackova(ok7[dlld[-X[1d[) MuranskaZdychava(TLF%7Fzl~fdf)
Curator : Douglas Davis (F-e2 [L~ F110 1d l'-)
Josef Robakowski (°^J ~3_d1) My Videomasochisms(LF~I dlGl~~[i~lo)
Curator : Kathy Huffman (3H^I 0~-oI )
Vadim Koshkin (d[of ~~F_~_') Psychopathia of a Mosaic Circle(Qx[ola Aiz~l x1`1°4 )
Marina Grzinic (o [alL-[ Zz1L) &Aina Smid (0[011-[ -01-)
Luna 10 (zr 10)
Curator : John Hanhardt (L LF0[zE)
Gary Hill (7H21 z) Primarily Speaking (TLi z0[~[~~ )
WoodyVasuIka4"Eld[i~7[) Art of Memory(7101012 x11:)
Curator : Wulf Herzogenrath (9"
Klaus vom Bruch (zz[Tlk odT_ET) The Duracell Tape (;rz[ z EIIO I=)
Klaus vom Bruch (-:EE[_ -I- odT~)&Heike-Melba Fendel (0[0141°+Id[ u4IFzl)
The West is Alive (tii~ zr0[°AE[)
KIausvomBruch(ffz[T_o dTQ-) Azlmut(o$I)
'95 KWANGJU BIENNALE
Curator : Barbara London _(dI-d f2f ?i `1)
Peter Campus (AEj51Aui^) Three Transitions (37N°_I 11-)
BiIIViola (zdlzz1) Ancient of Days ('is-_I547-1)
The Residents (E1 811XILlx) Land of 1,000 Dances (J7[XI $PI 29)Dara Birnbaum PatLHdla) Pop Pop Video, KojakAVang
(91't d 1142
Laurie Anderson (F.21 alE1:) Personal Service Announcement(7H01QAidl .. o,)
Gary Hill (7H2.I zI) Site/Recite (Af01E/2IAf0IE)
Curator : Shirin Neshat (:~l?I Ll^k)
Azin Valy (O[LI 924) The Blind Owl (~al To)
Curator- .- Nam June Paik (.N~E[T)
Bruce Nauman(TZ~ EIT°~F) Violin Tuned D.EA.D(D .E .A.D.-0~' ~1g5-4 d f01*?I )
Mr . Paik's Computer Mentors?j~Ej _ate)
Curator : Katsue Tomiyama (94011 -F,-a 100f)
Takashi Ito (E[51 fAI 01-E~-) Hide and Seek in December
JunkoWada (Ea2P) Claustromania (z ~~o~o)
Osamu Nagata (QA[* 47 kF) Re-edit (W-011 )
Katsumi Aoi (91 01 0[201) Date (z~ )
Tsuyoshi Takagawa (xl2AI EHf7M) Lydian Chromatic Concept of Tonal Org.(&M 1 011 ~+t 2-114 -°I "JIzH 7H )
Tomoko Hashimoto (R4aofAl I?¬ ) The Spirit of Journey (01 1g94 )
Sieko Otobe (Molly 4E4) I Ate the Star (I-H71- a dz111 °9'4Ef)
Visual Brains (AI~F~a T~-I) De-Sign b: Active Fault(71 al 44oFOi :,i-I ,1 -,~z)
Curator : Stephen Vitiello (_`EI= d IEIOJ Ef )
Peter Callas (TIM tr2f!:) Night's High Noon (g-I oi4)
Eder Santos (011[118 LFE^) This Nervous Thing (01 z)
Ivar Smedstad (01d f ^_WISE[E) Pick Sel (4q ^'j)
Curator : Lori Zippay (-E~- 21 XIui101)
Nam June Paik(~ ~) Videotape Study No .3 (d I GQHIOI=
Joan Jonas (yoF i~F") Left Side Right Side (41 E12S-u_1)
Juan Downey (4.F -'ETu) The Looking Glass (0_1oa )
Cheryl Donegan (411%1 EL-1 `F) Craft (32.H-E )
Curator : Kim Hong-hee (7 &_ A4)
Cho Seung-ho "1) The Big Sleep QLa- $)Iris (0[0121-::~: )
Feng Meng-bo ("g1 'Al-Y-) Taking Tiger Mountain by Strategy(IP I,01 ~fal `1Tof2i7P)
Kim Hyun-ok(of d) Night Open Yourself (0~0101 I-~z1)
PhillipLim(zd1 g ) Mummy was Right (0{a{L-17F~°;0{0)
Oh Kyung-hwa (2?1&[) Secret (d IV')
Ellan Pau (zl all u[°- ) Drained II (2jU II)
Angel Velasco Shaw (0-11 ;641 zlz1~AT) Asian Boys (0 fAIOF_°I :~!:Lz)
Song Dong (o o) Chinese Ink ( 1-1w)
Container (871)
Suh Kae-sock (Ai)Jl-) TV Scherzo (TV ^3112 1~x )
INPOART OR PLAN
rt-2man-
nm k'
.&t
_D
t/f
Wp~ m_
O
" M.
ASL DOIA