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Nam June PaikFrom Wikipedia, the free encyclopedia

Nam June Paik (July 20, 1932 - January 29, 2006) was a South Korean-born American artist. He worked with a variety of media and is considered to be the first video artist. He is considered by some to have been the author of the phrase “In-formation Superhighway”, which, according to his own account, he used in a Rockefeller Foundation paper in 1974.

Early lifeBorn in Seoul, Paik had four older brothers and a father who worked as a textile manufacturer. As he was growing up, he was trained as a classical pianist. In 1950, Paik and his family had to flee from their home in Korea, during the Korean War. His family first fled to Hong Kong, but later moved to Japan, for reasons unknown. Six years later he graduated from the University of Tokyo where he wrote a thesis on the composer Arnold Schoen-berg.

Paik then moved to Germany to study the his-tory of music at Munich University. While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual

artists Joseph Beuys and Wolf Vostell who inspired him to work in the field of electronic art.

WorksPre-Bell-Man, statue in front of the ‘Museum für Kommunikation’, Frankfurt am Main, Germany

Nam June Paik then began participating in the Neo-Dada art movement, known as Fluxus, which was inspired by the composer John Cage, and his use of everyday sounds and noises in his music. He made his big debut at an exhibition known as, Exposition of Music-Electronic Television, in which he scattered televisions everywhere, and used magnets to alter or distort their images.

In 1964, Paik moved to New York, and began work-ing with classical cellist Charlotte Moorman, to combine his video, music, and performance. In the work TV Cello, the pair stacked televisions on top one another, so that they formed the shape of an actual cello. When Moorman drew her bow across the “cello,” images of both her playing, and images of other cellists playing appeared on the screens. In 1965, Sony introduced the Portapak. With this, Paik could both move and record things, for it was the first portable video and audio recorder. From there, Paik became an international celebrity, known for his creative and entertaining works.

In a notorious 1967 incident, Charlotte Moorman was arrested for going topless while performing

in Paik’s Opera Sextronique. Two years later, in 1969, they performed TV Bra for Living Sculp-ture, in which Charlotte wore a bra with small TV screens over her breasts. Paik developed the idea of an “Electronic Superhighway” as early as 1974 in his text “Media Planning for the Postindustrial Society”. Many of Paik’s early works and writings are collected in a volume edited by Judson Rose-bush titled Nam June Paik: Videa ‘n’ Videology 1959-1973, published by the Everson Museum of Art, Syracuse, New York, in 1974.

In another work, Something Pacific (1986), a statue of a sitting Buddha faces its image on a closed circuit television. (The piece is part of the Stuart Collection of public art at the University of California, San Diego.) Another piece, Positive Egg, displays a white egg on a black background. In a series of video monitors, increasing in size, the image on the screen becomes larger and larger, until the egg itself becomes an abstract, unrecognizable shape. In Video Fish, from 1975, a series of aquariums arranged in a horizontal line contain live fish swimming in front of an equal number of monitors which show video images of other fish.

Paik’s 1995 piece “Electronic Superhighway: Continental U.S., Alaska, Hawaii”, on permanent display at the Lincoln Gallery of the Smithsonian American Art Museum, is a stunning example of his cultural criticism. With this piece, Paik offers up his commentary about an American culture

obsessed with television, the moving image, and bright shiny things.

Paik was also known for making robots out of television sets. These were constructed using pieces of wire and metal, but later Paik used parts from radio and television sets. A retro-spective of Paik’s work was held at the Whitney Museum of American Art in the spring of 1982. During the New Year’s Day celebration in January 1, 1984, he aired Good Morning, Mr. Orwell, a live link between WNET New York, Centre Pompidou Paris, and South Korea. With the participation of John Cage, Salvador Dalí, Laurie Anderson, Joseph Beuys, Merce Cunningham, Allen Ginsberg and Peter Orlovsky, George Plimpton, and other art-ists, Paik showed that George Orwell’s Big Brother hadn’t arrived. In 1986, Paik created the work Bye Bye Kipling, a tape that mixed live events from Seoul, South Korea, Tokyo, Japan and New York. Two years later, in 1988 he further showed his love for his home with a piece called The more the better, a giant tower made entirely of one thousand three monitors for the Olympic Games being held at Seoul.

In 1996, Nam June Paik had a stroke, which left him partially paralyzed. A final retrospective of his work was held in 2000 at the Guggenheim Mu-seum in New York, integrating the unique space of the museum into the exhibition itself.[8] This co-incided with a downtown gallery showing of video artworks by his wife Shigeko Kubota, mainly deal-

ing with his recovery from the stroke. Nam June Paik died January 29, 2006, in Miami, Florida, due to natural causes.

Ackland Art Museum (University of North Caro-lina), the Albright-Knox Art Gallery (Buffalo, New York), the Art Museum of the Americas (Washing-ton D.C.), DaimlerChrysler Collection (Berlin), Fukuoka Art Museum (Fukuoka, Japan), the Hirsh-horn Museum and Sculpture Garden (Washington D.C.), the Honolulu Academy of Arts, Kunsthalle zu Kiel (Germany), Kunstmuseum St.Gallen (Swit-zerland), Kunstsammlung Nordrhein-Westfalen (Dusseldorf, Germany), Ludwig Forum für Inter-nationale Kunst (Aachen, Germany), Musée d’Art Moderne de la Ville de Paris, Museum Wiesbaden (Germany), the National Gallery of Australia (Canberra), the National Museum of Contempo-rary Art (Athens, Greece), Palazzo Cavour (Turin, Italy), the Royal Museums of Fine Arts of Belgium, Schleswig-Holstein Museums (Germany), the Smart Museum of Art (University of Chicago), Smith Col-lege Museum of Art (Massachusetts), the Smith-sonian American Art Museum (Washington D.C.), the Stuart Collection (University of California, San Diego), and the Walker Art Center (Minneapolis, Minnesota) are among the public collections hold-ing work by Nam June Paik.

http://en.wikiquote.org/wiki/Nam_June_Paik

Nam June PaikAttributed

“I make technology ridiculous.”

“I am a poor man from a poor country, so I have to be entertaining every second.”

“It is the historical necessity, if there is a histori-cal necessity in history, that a new decade of electronic television should follow from the past decade of electronic music.” (1965)

“Without electricity, there can be no art.” (ca. 1976)

“Really, half of art is trickery. You pull tricks and you get tricked. It’s a higher form of trickery. Art is what makes the public numb.” (Translated from Korean, ca. 1984)

“The future is now.”

http://www.ekac.org/paik.interview.html

Satellite Art: an intervew with Nam June PaikEduardo KacKac - The relationship between art and new tech-nology is as old as art itself. How do you see this relationship?

Paik - This is, in fact, a very old relationship. The Egyptian pyramids are the first example of a com-bination of high art and high tech, because they used many of the cutting edge technologies of the time. Their culture was very well developed. They had chemical industries (which produced colored pigments for painting), advanced building tech-niques, sophisticated security systems (to pre-vent invasion of the sacred spaces), and efficient mummification processes for the preservation of the human body, among other things. Today, new technologies can be used in art in two basic ways: in the fine arts and in the applied arts. Fine art is art for art’s sake, in which I identify a kind of extension of conceptual art, according to which the concept is the context and the context is the concept. The context is the content; the content is the context. This means that the fine arts have always been interested in the new horizons of possibilities. When Picasso created Cubism, he did so because he was tired of Impressionism. Monet created Impressionism because he was tired of Academicism ÜÜ artists have always been interested in the new sensibility, in exploring new possibilities. Since today we have satellites, we

want to use them, discover what we, artists, can do with them. We want to try something new, in the tradition of Monet and Picasso. These same instruments (satellites) are used in the applied arts, which are essential to humankind because they are useful in everyday life. But there is also the military use of satellites. We want to use satellites for pacifist purposes, such as the perfor-mance arts, rock’n roll, dance, etc.; and we can make simultaneous transmissions between Rio de Janeiro, New York, Seoul, Bonn, Tokyo, Moscow and many other cities. It is clear that the applied arts are directly related to people’s activities, but the fine arts are more meaningful than the applied arts.

Kac - You have a strong musical background. In 1956 you studied music at the University of Mu-nich and at the Music Conservatory of Freiburg, in Germany. In 1958 you worked in Cologne, in the Rundfunk Electronic Music Studios, where Stock-hausen also worked. In your telecommunication events you often include performances of rock’n roll or pop music. How do you relate music and video?

Paik - MTV’s videoclips have already shown that there is great intimacy between sound and image. People are used to these electronic collages. If you compare them to the underground films of the ‘60s, you will find lots of common traits, such as abrupt cuts and unusual angles, among other characteristics. MTV is not the only approach to

the issue of sound-and-image, but it is an inter-esting solution, which has contributed a lot to the development of a “visual music”, and to video art. I believe that Laurie Anderson’s work, for example, is very important, because she bridges the gap between “low culture” and “high cul-ture”. The standards of “low art” are being raised dramatically. When Elvis Presley appeared in the ‘50s, fine artists did not appreciate his work. But when the Beatles appeared, in the ‘60s, fine art-ists admired and respected them. I see a major change under way. As opposed to Presley, who was a driver, musicians like David Bowie or David Byrne are educated, well-informed people, with solid backgrounds. They admire Marcel Duch-amp and other important artists. A visual artist can talk to them at the same intellectual level because they were visual artists before turning professional musicians. But there is no reason for them to create high art, anyway. There are always artists focused on this kind of work, like Ray John-son and the members of Fluxus, among so many others.

Kac - One of the trends of high tech art is the integration of multiple media. Do you believe that video and holography will ever cross paths? What is the future of high tech art?

Paik - Holography, which is very different from video, is the next horizon. I’ve seen excellent holograms in the Museum of Holography, and, in fact, new discoveries are made in this field every

day. A single hologram contains a lot of informa-tion, which means that magnetic tape will not be used as storage medium. Most likely, optical recording systems, such as compact disks, will one day store holographic images. Artists creating high tech art must be careful not to fall into the decorative trap. They must prevent the high tech from overpowering the art. If we can avoid this danger, then it will be all right.

Kac - Your first large-scale telecommunication art event was “Good Morning Mr. Orwell.” Then came “Bye Bye Mr. Kipling.” Now it is “Wrap Around the World.” How does this third piece complement the others?

Paik - The first work was not about communica-tions between East and West, it was a link be-tween France and the United States. The second focused exactly on that; the link was between Ko-rea, Japan, and the United States. Now I want to create a link that involves the whole world. This is the main difference. The second difference is that we are working now more with popular arts than with high art performances. It is a big risk to create a live television show in such a large scale with high art only, because television is an enter-tainment medium and we have to be careful. We have to be a little conservative to minimize the risks of a transmission between several conti-nents. I am not saying that we are not creating high art, but that we are creating a new high art with new materials. We are using these new ma-

terials to work with the temporal element of the popular arts, the rhythm, which is so important in video art. This is my last satellite show, but it is also the beginning of a larger satellite movement of the future.

http://www.time.com/time/asia/2006/heroes/at_paik.html

Nam June PaikHis avant-garde installations launched an en-tirely new school of artBy Richard LacayoWe will never know which cave dweller was the first to discover that mineral pastes and charcoal could be smeared on a rock wall to make a paint-ing. But we do know who first recognized that television could be made into art. And we don’t mean the art of making television programs. We mean art created from TV sets, TV tubes, TV cabi-nets and TV signals. The founding father of video art, which by now ranks as one of the museum world’s serious growth sectors, was the Korean-born provocateur Nam June Paik.

In the early 1960s, while studying music at a series of universities in Germany, Paik became involved with the international art movement Fluxus, a loose affiliation of anarchic talents that included Yoko Ono and the avant-garde com-poser John Cage. Taking the anti-art aesthetic of Dadaism as their inspiration, they were devoted to various kinds of madcap public performance (once, in the middle of performing his own Etude for Pianoforte, Paik suddenly leapt into the audi-ence where Cage was sitting and scissored off the composer’s necktie) and to found materials—the artist’s term for whatever happens to be at hand. Paik’s breakthrough came when he realized that

television—with signals flowing everywhere and receivers in almost every home—was a universal found material. As he once explained: “I knew there was something to be done in television and nobody else was doing it, so I said why not make it my job?”

So, in 1963, he set to work dismantling 13 old black-and-white TV sets and figuring out ways to distort their pictures with magnets, microphones and other means. He displayed the results that year in a gallery in Wuppertal, Germany. It was the world’s first exhibition of video art. When Sony produced the first portable video camera in 1965, Paik was also the first to make art with that, using scenes he filmed of a papal visit to New York.

Paik, who died in January at age 73, thought humor was a natural ingredient of art. Works like Video Fish—52 working monitors, each covered by an aquarium stocked with fish—are deliberately comic. After moving to New York in 1964 he also began his long collaboration with Charlotte Moor-man, a gifted cellist and a very good sport who colluded in Paik’s forays into what you might call soft-core classical, including his Cello Sonata No. 1 for Adults Only, in which she shed her clothing while playing Bach’s C Major Sonata. Paik took his art seriously. But he produced it with a smile.

http://www.medienkunstnetz.de/works/partici-pation-tv/

«Participation TV»In 1963, «Participation TV I» passed the qualify-ing rounds at the «Exposition of Music—Electronic Television» exhibition in Wuppertal [where, in the case of a few devices, acoustic signals already determined the television image]. [«Participa-tion TV I»] concerns a purely acoustic-oriented type of «Participation TV,» with an integrated microphone. The later version serves a televi-sion showing in the middle of its screen a colored bundle of lines which explosively spread out to form bizarre-looking line formations the moment someone speaks into the microphone or pro-duces any other type of sound. Depending on the sound’s inherent quality or volume, the signals are intensified by a sound-frequency amplifier to produce an endless variety of line formations which never seem to repeat themselves or be in any way predictable.(Source: Edith Decker, Paik Video, Cologne, 1988, p. 64)

http://www.medienkunstnetz.de/works/mag-net-tv/

«Magnet TV»«Magnet TV» was developed relatively late by Paik. By then he had already engaged in numerous complex operations on the inner-workings of tele-vision sets, but was yet to consider how magnets applied from outside were also well-suited to al-tering the electromagnetic flow of electrons.[...] At first Paik worked with only a horseshoe-shaped electromagnet and a degausser, used by techni-cians to deactivate the television screen’s state of being charged.[...] The magnet’s force of attrac-tion hindered the cathode rays from filling the screen’s rectangular surface. This pushed the field of horizontal lines upward thus creating baffling forms within the magnet’s gravitational field. If the magnet maintained its position, the picture remained stabile—apart from minimal changes caused by fluctuations in the flow of electricity. Moving the magnet caused endless variations on the forms.(Source: Edith Decker, Paik Video, Cologne, 1988, p. 60ff.)

http://www.medienkunstnetz.de/works/global-grove/

«Global Groove»‘This is a glimpse of a video landscape of tomor-row when you will be able to switch on any TV station on the earth and TV guides will be as fat as the Manhattan telephone book.’ Paik’s intro-ductory statement stands for the tape’s compo-sitional principle and message – global channel zapping, in 1973 a visionary precursor of subse-quent developments. The spirit of the tape con-veys Marshall McLuhan’s theory of a future ‘global village’, which Paik matched with an idea of his own: ‘If we could compile a weekly TV festival made up of music and dance from every county, and distributed it free-of-charge round the world via the proposed common video market, it would have a phenomenal effect on education and entertainment.’ A typical Paik mixture, the tape includes excerpts from TV programmes, contribu-tions by artist friends such as John Cage, Allen Ginsberg, Charlotte Moorman and Karlheinz Stock-hausen, footage by other video artists like Jud Yalkut and Robert Breer, and excerpts from earlier Paik videos. The combination of mass media and avant-garde was aimed at art-lovers and ‘normal’ TV viewers alike. The video was broadcast by WNET-TV on 30 January 1974.

http://www.medienkunstnetz.de/works/tv-bud-dha/

«TV-Buddha»Paik’s possibly most famous video work was produced as a gap-filler for an empty wall in his fourth show in the Galeria Bonino, New York. Shortly before the opening, he hit upon the idea of making a TV viewer out of an antique Buddha statue once purchased as an investment. The subsequent addition of a video camera meant the Buddha now watched his videotaped image on the screen opposite – past and present gaze upon each other in an encounter between Oriental de-ity and Western media.During the ‘Projekt ‘74’ exhibition in Cologne, Paik took the Buddha’s place in his recent cre-ation, suggesting the implicit antithesis between transcendentalism and technology was equally present in his own personality.

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