지지씨 기관 회원 가입 안내
경기도내에 위치한 국공사립 문화예술기관, 박물관, 미술관, 공연장 등 도내의
문화예술 소식과 정보를 발행해주실 수 있는 곳이라면 언제든지 환영합니다.
지지씨 기관 회원은 지지씨 콘텐츠를 직접 올려 도민들과 더욱 가까이 소통할 수 있습니다.
기관에서 발행하는 소식지, 사업별 보도자료, 발간도서 등 온라인 게재가 가능하다면 그 어떠한 콘텐츠도 가능합니다.
지지씨를 통해 더 많은 도민에게 기관의 사업과 콘텐츠를 홍보하고, 문화예술 네트워크를 구축하세요.
지지씨 기관 회원으로 제휴를 희망하는 기관은 해당 신청서를 작성하여 메일로 제출바랍니다.
지지씨 기관 회원 혜택
신청서 작성 및 제출안내
경기 문화예술의 모든 것, 지지씨는
기관 회원 분들의 많은 참여를 기다립니다.
지지씨플랫폼 운영 가이드
지지씨는 회원 여러분의 게시물이 모두의 삶을 더욱 아름답게 해 줄 거라 믿습니다. 경기문화재단은 여러분이 작성한 게시물을 소중히 다룰 것입니다.
제1조(목적)
본 가이드는 재단법인 경기문화재단의 ‘온라인 아카이브 플랫폼 지지씨(www.ggc.ggcf.kr. 이하 ‘지지씨’)’의 기관회원(이하 ‘회원’)의 정의 및 권리와 의무를 규정하고, 회원의 생산자료에 관한 기록 저장과 활용에 관한 내용을 규정함을 목적으로 합니다.
제2조(정의)
본 가이드에서 사용하는 용어의 정의는 다음과 같습니다.
① ‘지지씨’는 경기도 소재 문화예술기관의 생산자료 등록과 확산을 위해 경기문화재단이 운영하는 온라인 아카이브 플랫폼입니다.
② ‘회원’이란 소정의 가입 승인 절차를 거쳐 지지씨 글쓰기 계정(ID)을 부여받고, 지지씨에 자료 등록 권한을 부여받은 경기도 소재 문화예술기관 및 유관기관을 의미합니다.
‘생산자료(=콘텐츠)’란 ‘회원’이 지지씨 플랫폼 상에 게재한 부호, 문자, 음성, 음향, 그림, 사진, 동영상, 링크 등으로 구성된 각종 콘텐츠 자체 또는 파일을 말합니다.
제3조(가이드의 게시와 개정)
① 경기문화재단은 본 가이드의 내용을 ‘회원’이 쉽게 알 수 있도록 지지씨 플랫폼의 기관회원 등록 안내 페이지에 게시하여, 자유롭게 내려받아 내용을 확인할 수 있도록 합니다.
② 본 가이드는 경기문화재단의 온라인 플랫폼 운영 정책 및 저작권 등 관련 법규에 따라 개정될 수 있으며, 가이드를 개정, 적용하고자 할 때는 30일 이전에 약관 개정 내용, 사유 등을 '회원'에 전자우편으로 발송, 공지합니다. 단, 법령의 개정 등으로 긴급하게 가이드를 변경할 경우, 효력 발생일 직전에 동일한 방법으로 알려 드립니다.
1. 본 가이드의 개정과 관련하여 이의가 있는 ‘회원’은 탈퇴할 수 있습니다.
2. 경기문화재단의 고지가 있고 난 뒤 효력 발생일까지 어떠한 이의도 제기하지 않았을 경우, 개정된 가이드를 승인한 것으로 간주합니다.
제4조(회원자격 및 가입)
① ‘지지씨’의 ‘회원’은 경기도 소재 문화예술기관과 유관기관으로 합니다. ‘회원’은 글쓰기 계정을 부여받은 후 지지씨에 생산자료를 등록하거나, 게시를 요청할 수 있습니다.
② ‘지지씨’의 가입 신청은 지지씨 누리집에서 가능합니다. 회원가입을 원하는 기관은 계정 신청서를 작성, 가입 신청을 할 수 있습니다.
1. 회원가입을 원하는 기관은 지지씨에서 내려받기 한 ‘온라인 콘텐츠 플랫폼 지지씨 계정 신청서’를 지지씨 공식 전자메일(ggc@ggcf.kr)로 제출, 승인 요청을 합니다.
2. 한 기관에 발급되는 계정은 부서별/사업별로 복수 발급이 가능합니다. 단, 사용자 편의 등을위해 기관 계정 관리자 1인이 복수 계정의 발급을 신청한 경우, 승인 불가합니다.
3. ‘회원’ 계정은 신청인이 속한 기관명/부서명/사업명 등의 한글로 부여됩니다.
4. ‘회원’은 계정 발급 후 최초 로그인 시 비밀번호를 변경합니다.
5. 계정의 비밀번호는 가입 승인된 계정과 일치되는 ‘회원’임을 확인하고, 비밀 보호 등을 위해 ‘회원’이 정한 문자 또는 숫자의 조합을 의미합니다.
③ ‘지지씨’ 가입 신청 방법은 내부 방침에 따라 변경될 수 있으며, 가입 신청에 관한 구체적인 내용은 지지씨 누리집에서 확인할 수 있습니다.
④ 경기문화재단은 다음 각호에 해당하는 신청에 대하여 승인 불허 혹은 사후에 계정을 해지할 수 있습니다.
1. 과거 회원자격 상실 회원. 단, 경기문화재단과 회원 재가입 사전 협의, 승인받은 경우는 예외로 함
2. 정보의 허위 기재, 저작권 등 관련 법률을 위반한 저작물 게시 등 제반 규정을 위반한 경우
⑤ ‘회원’은 회원자격 및 지지씨에서 제공하는 혜택 등을 타인에게 양도하거나 대여할 수 없습니다.
⑥ ‘지지씨’는 계정과 생산자료의 효율적인 관리를 위해 〔별표〕에 따라 ‘회원’을 구분합니다. 회원 구분에 따른 이용상의 차이는 없습니다.
제5조(회원 정보의 변경)
① ‘회원’은 언제든지 가입정보의 수정을 요청할 수 있습니다. 기관명, 부서명 등의 변경에 따른 계정 변경도 가능합니다. 단, 계정 변경시에는 계정(신청/변경)신청서를 다시 작성, 제출해야 합니다.
② ‘회원’은 계정 신청 시 기재한 사항이 변경되었을 경우 전자우편 등 기타 방법으로 재단에 대하여 그 변경사항을 알려야 합니다.
③ 제2항의 변경사항을 알리지 않아 발생한 불이익에 대하여 재단은 책임지지 않습니다.
제6조(회원 탈퇴 및 정지‧상실)
① ‘회원’은 지지씨 공식 전자메일, 전화 및 경기문화재단이 정하는 방법으로 탈퇴를 요청할 수 있으며 경기문화재단은 ‘회원’의 요청에 따라 조속히 탈퇴에 필요한 제반 절차를 수행합니다.
② ‘회원’이 탈퇴할 경우, 해당 ‘회원’의 계정 및 가입 시 작성, 제출한 개인정보는 삭제되지만, 탈퇴 이후에도 등록자료는 ‘지지씨’에서 검색, 서비스됩니다.
③ ‘회원’ 탈퇴 후에도 재가입이 가능하며, 탈퇴 전과 동일한 아이디를 부여합니다.
제7조(생산자료의 게시와 활용)
① ‘회원’은 글쓰기페이지(www,ggc.ggcf.kr/ggcplay/login)를 통해 계정의 아이디와 비밀번호를 입력, ‘지지씨’에 접속합니다.
② ‘회원’은 ‘지지씨’ 에디터 프로그램을 활용하여 해당 기관의 문화예술 관련 자료를 게시 및 수정, 삭제할 수 있습니다. 단, 사업의 일몰, 기간의 종료, 추진부서의 변경 등의 사유로 삭제는 불가합니다.
③ ‘회원’은 ‘지지씨’에 게시한 해당기관의 자료를 뉴스레터, SNS 등 온라인 매체로 확산, 활용할 수 있습니다. 단, 타기관의 자료를 사용하는 경우 사전 사용 협의 및 출처를 밝혀야 합니다.
④ ‘회원’의 게시물은 도민 문화향수 확산을 위해 출처를 밝히고 뉴스레터나 SNS 등의 채널에 가공 없이 활용될 수 있습니다.
제8조(회원의 아이디 및 비밀번호의 관리에 대한 의무)
① ‘회원’의 아이디와 비밀번호에 관한 관리책임은 ‘회원’에게 있으며, 이를 제3자에게 제공할 수 없습니다.
② ‘회원’은 아이디 및 비밀번호가 도용되거나 제3자가 사용하고 있음을 인지한 경우, 이를 즉시 경기문화재단에 알리고 재단의 안내를 따라야 합니다.
③ 본조 제2항의 상황에 해당하는 ‘회원’이 경기문화재단에 그 사실을 알리지 않거나, 알린 경우라도 경기문화재단의 안내에 따르지 않아 발생한 불이익에 대하여 경기문화재단은 책임지지 않습니다.
제9조(회원의 개인정보 보호에 대한 의무)
① 경기문화재단은 지지씨 계정 신청시 수집하는 개인정보는 다음과 같습니다.
1. 계정 관리자 이름 2. 사무실 연락처 3. 담당자 전자메일
② ‘회원’의 개인정보는 「개인정보보호법」 및 경기문화재단 개인정보처리방침에 따라 보호됩니다.
③ 경기문화재단 개인정보처리방침은 ‘지지씨’ 누리집 하단에 공개하며, 개정시 그 내용을 ‘회원’의 전자메일로 알립니다.
제10조(사용자 권리 보호)
① ‘회원’의 게시물이 저작권 등에 위배될 경우 경기문화재단은 사전 협의나 통보 없이 바로 삭제조치합니다. 이와 관련한 분쟁은 「저작권법」 및 「공공기록물 관리에 관한 법률」 등을 따릅니다.
② 경기문화재단은 ‘회원’의 게시물이 타인의 권리를 침해하는 내용이거나, 관련 법령을 위배하는 등지지씨의 운영 정책에 부합되지 않는 경우, ‘회원’과 협의 없이 삭제할 수 있습니다.
‘지지씨’의 게시물로 기관의 명예훼손 등 권리침해를 당하셨다면, 경기문화재단 지지씨멤버스의 고객상담(VOC)을 통해 민원을 제기할 수 있습니다. 이는 (사)한국인터넷자율정책기구(KISO)의 정책 규정을 따라 처리될 것입니다.
본 약관은 경기문화재단 대표이사의 승인을 얻은 날부터 시행됩니다.
대분류 | 외부기관 | 경기문화재단 |
---|---|---|
중분류 | 뮤지엄(박물관,미술관)/협회/문화예술공공기관/시군청 담당부서 등 | 본부/기관 |
아이디 | 사업부서명/사업명 | 사업부서명/사업명 |
글쓴이 노출 | 아이디와 동일(한글) | 아이디와 동일(한글) |
콘텐츠 등록/수정 요청
01. 콘텐츠 등록 및 수정 요청서 양식 다운로드
콘텐츠 직접 등록 및 수정이 어려우실 경우, 해당 요청서 양식을 다운로드 하신 후 작성하여
지지씨 관리자에게 등록·수정을 요청해주세요.
02. 콘텐츠 등록 및 수정 요청 안내
상단에서 다운로드하신 해당 요청서 양식 파일을 지지씨 관리자 이메일로 제출해 주세요.
백남준아트센터
Temporality of Photography, Power of Stillness
The photographic collection of Nam June Paik Art Center helps you delve into Paik’s active contribution to the Fluxus movement, and his artistic ideas embodied in Exposition of Music – Electronic Television, an exhibition that paved the way for an untrodden field of media art. Further to this, the temporal layers of the collection are deepened by the photographs showing how Paik’s artistic mind born out of this period of time continued to be at play as time went by. Among the photographs of Exposition of Music taken by Manfred Montwé are those capturing Paik walking around the exhibition space dragging a spoon, a toy car’s axle, and a violin tied with a string, as shown in FIG. 1. This is Zen for Walking. Already in 1961, he trailed different objects on the street in Köln, including sandals tied on to an iron chain, a small bell, a head fragment of a sculpture, as well as a violin. He did similar performances many times over the years, and the last one dragging a violin took place as part of the 12th Annual Avant-Garde Festival of New York in Brooklyn’s Floyd Bennett Field Park that used to be an airport site. FIG. 2 is its photograph taken by Peter Moore. Zen performed by means of the linearity of a string, sounds made by the dragged objects, Paik’s small but solid appearance from behind, and the accumulated time through repeated and transformed performances over ten years. The resonance of a photograph seems more richly textured than an orchestral concert.
Fig1. Nam June Paik's Zen for walking, 1959, 40.2x30.4cm, B&W photography
Photo by Manfred Montwé © montwéART
Fig2. Nam June Paik's Violin with String, 12th Annual New York Avant-Garde Festival, Floyd Bennett Field, Brooklyn, 1975, 59.5.x40cm, B&W photography
Photo by Peter Moore © Estate of peter Moore/VAGA
In Exposition of Music – Electronic Television, the title Zen was combined with one of the experimental televisions. A television out of order where only a single line runs through the middle of the screen was called Zen for TV. He once recalled that he had spent a long evening with Joseph Beuys and Günther Uecker, as if doing a Zen exercise, watching the television with a white vertical line cutting across the bluish screen, like a flash of enlightenment. Paik’s ‘Zen’ was also applied to film: Zen for Film shown in New Cinema Festival at the Filmmakers’ Cinematheque in 1965. Organized by the cinematheque’s director Jonas Mekas, this festival presented the works of expanded cinema that merged avant-garde performances and moving images. Paik screened an empty film so that scratches and dust particles on it were projected to the screen. The physical attributes of the film interfering by accident ended up with creating screen images. As captured in FIG. 3, Paik also staged a kind of performance by positioning himself between the projector and the screen, constituting new images by his own silhouettes and movements. Such works as Zen for TV and Zen for Film, which blurred the division of form and content, have less to do with the instrumentality of media to record and represent something out there but more to do with the very materiality of media, hence drawing attention to the media itself.
Fig3. Nam June Paik's Zen for Film(1964) performed as part of New Cinema Festival 1, Filmmakers's Cinematheque, New York, 1964, 40.x59.5cm, B&W photography
Photo by Peter Moore © Estate of peter Moore/VAGA
Fig4. Paik with Magnet TV in his Canal Street studio, New York, 1965, 40.x59.5m, B&W photography
Photo by Peter Moore © Estate of peter Moore/VAGA
Paik carried on with research into media in technical terms. In order to overcome the limitation of black and white televisions used in Exposition of Music – Electronic Television, he moved on to Japan next year and worked together with technicians there to experiment on color televisions. Magnet TV produced in 1965 was a result of this research. Coils wrapped around a CRT monitor, which is a sort of electromagnet, spread electrons on the screen at a rapid rate. If one touches a magnet to the monitor, the flow of electrons is interrupted such that deflection occurs and distinctive RGB colors emerge consequently. Previously having focused on manipulating the inner circuits of television, Paik turned to what could externally influence TV images, and that is why Magnet TV was produced relatively late in 1965. FIG. 4 is Peter Moore’s photograph in which Paik is handling Magnet TV in his studio on 359 Canal Street, New York.
Fig5. Fluxus Sonata 4 performed at Anthology Film Archives, 1975, 40.x59.5m, B&W photography
Photo by Peter Moore © Estate of peter Moore/VAGA
The experiments on non-linear sound-making in Exposition of Music – Electronic Television reached a phase of more dynamic remixing in the 1970s. FIG. 5 shows a performance Fluxus Sonata No. 4 occurring in Anthology Film Archives (AFA) in 1975. Formerly Mekas’ Cinematheque, AFA opened in 1970, and soon after, it had to move to 80 Wooster Street, New York. During the construction of the new site, Paik’s Fluxus Sonata series was performed here. In Fluxus Sonata No. 4 that deployed several turntables, Paik put an LP on one of them and listened carefully with his arms crossed; and then he moved to another turntable to activate another LP. With the two vinyl records rotating simultaneously, he oscillated between the phonographs, interrupting and spinning them with his hands. Physically intervening in the operation of record players, this performance is much like today’s DJing.
In his 1992 writing Who is Afraid of Jonas Mekas? Paik said that the answer to this question was himself. According to Paik, anybody can have a good idea and anybody can do it for some years, but Mekas’ admirable patience with no promise, with no reward enabled the recordings of his 40-year life, which became a 10-hour single-frame video at last. This is an example of the extent to which Paik did not hesitate to pay a compliment and homage to other artists. Moreover, it was without reservation that he extended his gratitude to those who lent him a helping hand in one way or another. This was often peppered with his humorous eloquence, which is cogent enough to feel the significance Paik attached to being together with others.
Fig6. Jean-Pierre Wilhelm, Charlotte Moorman, Jean-Pierre Wilhelm verabschiedet sich in der Wohnug von Joseph Beuys vom offiziellen Kunstleben mit einem von ihm gestalteten kursen Happening, Düsseldorf, April 1967, 1967, 20.3x25.4cm, B&W photography
Photo by Manfred Leve
As one of the most important events of 1967, Paik picked up Jean-Pierre Wilhelm’s farewell address made to the art world. “Already in his fifties and aware of his impending death, Wilhelm along with Manfred Leve came to Joseph Beuys’ apartment where Charlotte and I stayed. While having a chat, he took a piece of paper out of his pocket and recited a declaration of goodbye to his official art life. The moment was photographed by Dr. Leve. After Wilhelm returned home, Beuys, Charlotte and I giggled at the thought why the old guy had to do such a silly action. But the next year, he simply passed away.”(1986) Fig.6 is Leve’s photograph of the 1967 happening at Beuys’ house in Düsseldorf.
Fig7.Nam June Paik, Hommage à Jean-Pierre Wilhelm, 1978, 20.3x25.4cm, B&W photography
Photo by Manfred Leve
Fig8. Nam June Paik, Hommage à Jean-Pierre Wilhelm, 1978, 20.3x25.4cm, B&W photography
Photo by Manfred Leve
Fig9. Nam June Paik, Hommage à Jean-Pierre Wilhelm, 1978, 20.3x25.4cm, B&W photography
Photo by Manfred Leve
Paik was enormously grateful to Wilhelm since Fluxus could not come into being without him and also he made three turning points in Paik’s artistic career. In 1959 when twenty-five-year-old Paik was unsuccessfully striving to take the opportunity to premiere his first composition Hommage à John Cage, it was Wilhelm that reached out his hands to help the young artist Paik so that he was able to present the work at Wilhelm’s Galerie 22. A lot of artists, emerging and established, came to see his concert because Wilhelm was a star-maker of the German art scene, and hence it was an opportunity for Paik to expand his artistic network. Wilhelm also played a mediating role to realize Neo-Dada in der Musik; he also wrote a foreword to Paik’s Exposition of Music – Electronic Television. Ten years after he passed away in 1968, Paik staged a commemorating performance Hommage à Jean-Pierre Wilhelm on 22 Kaiserstrasse Düsseldorf, where Galerie 22 was located. Walking, running, smiling, yawning, looking at passersby, and pondering. As shown in Fig. 7, 8, 9, Paik asked Leve to take photographs of those seemingly meaningless actions of his. Twenty years after he made a debut as an artist, Paik cherished the memory of a beloved friend and reliable patron of Fluxus, with everyday gestures, with the very Fluxus motions.
Fig10. Paik and Charlotte Moorman performing Paik's Variations on a Theme by Saint Saens(1964) as part of Paik's Action Music, 3rd Annual New York Avant Garde Festival, 1965, 59.4x43.2cm, B&W photography
Photo by Peter Moore © Estate of peter Moore/VAGA
Fig11. Paik with Charlotte Moorman wearing TV Bra for Living Sculpture, New York, 1969, 49.3x49.5cm, B&W photography
Photo by Peter Moore © Estate of peter Moore/VAGA
“It was spring of 1991. Her last performance was dazzling indeed. Her bow moved swiftly as if a fencing champion wielded a foil. It was as if blue sparks flew up out of the cello. Two things flashed into my mind: an old Chinese saying that the last song of a dying bird is most beautiful, and the genuineness of a last advice of a knight on his deathbed who is afraid of nothing.”(1992) As is well known, after she first met Paik in 1964, Moorman as one of the closest colleagues and collaborators accomplished a lot of projects together with him and willingly responded to his daring performance ideas. FIG. 10 captures a performance of Variations on a Theme by Saint-Saens by Paik and Moorman at the 3rd Annual Avant-Garde Festival of New York in 1965. Wearing a transparent cellophane gown, Moorman begins to play the first few bars of The Swan by Camille Saint-Saëns; abruptly, she puts down her cello and walks across the stage to a large oil drum filled with water. She climbs a stepladder to the rim of the drum where she perches briefly before lowering herself into the water until she gets completely submerged. With the dress and hair dripping wet, she returns to her seat to finish The Swan. In the photograph you can see Paik assisting Moorman in climbing up and down the drum. He once wrote that there were so many works of music that he wanted to listen to in the last day of his life including: John Cage’s Winter Music played by David Tudor, the second movement of Beethoven’s Spring Sonata, or Saint-Saëns’ The Swan played by Moorman.(1992)
For Moorman, Paik not only composed performances but created sculptural works, one of which is TV Bra for Living Sculpture. Playing the cello, Moorman wore two miniature televisions encased in Plexiglass boxes attached to a set of vinyl straps. FIG. 11 shows Moorman putting on TV Bra performed on the cello in the exhibition TV as a Creative Medium at the Howard Wise Gallery, New York in 1969. Videos played on the small monitors of TV Bra varied from live broadcasts and CCTV feeds of the audience around, to prerecorded video footage. The musical notes played by Moorman and the magnets taped up to her wrists distorted the pictures; the cello sounds collected with a microphone transformed images into optical signals to adjust the screens. She did this performance for five hours at the opening, and for the duration of the exhibition, for two hours a day. The text entitled TV Bra for Living Sculpture that Paik wrote about imaginative and humanistic ways of using electronic technology was included in the exhibition’s pamphlet.
Fig12. Paik improvising during a performance at Town Hall, New York, 1968, 40.4x59.8cm, B&W photography
Photo by Peter Moore © Estate of peter Moore/VAGA
What made Paik-Moorman collaboration widely known to the public most dramatically is perhaps Opera Sextronique in 1967. In this performance, Moorman playing the cello took off clothes one by one in each movement, and when she turned topless in the second movement, the performance was cut short because she was arrested by the police. The ensuing uproar came to have social ramifications upon issues of sexual taboo and freedom of expression in music. Moorman had to go through legal proceedings, and in the wake of her trial Paik and Moorman organized a concert as a fundraiser to pay for Moorman’s legal fees. It was Mixed Media Opera held at Town Hall, New York in June 10, 1968. The repertoire included Arias No. 3 and 4 from Opera Sextronique, which had not made it in the original performance, and other popular Paik-Moorman works such as Variations on a Theme by Robert Breer and Variations on a Theme by Saint-Saëns. Paik’s Simple was also performed here. FIG. 12 is a photograph of this concert in which stripped to the waist, Paik is banging on the keys with his head. In this event, other artists made a guest appearance such as Allen Kaprow, James Tenney, Emmett Williams, and Mekas. The program contained a long text comprised of quotes from a rebuttal to Moorman’s guilt and references for the injustice of the trial.
From the picture, we cannot see Paik’s facial expression clearly. We cannot know what was happening before and after this moment, either. Nevertheless, the very stillness of the moment seems all the more compelling to invite us to get into Paik’s times and into Paik’s people. This is why still images of photography can be more powerful than ever for us, ironically, living in an age where to record and spread one’s every move and every moment quickly and vividly is too effortless. In addition to photographs taken by Leve, Montwé and Moore, the NJPAC collection also contains those taken in the 1990s by Korean photographer Eunjoo Lee, of Paik’s New York studio and a wheelchair he had to rely on suffering from a stroke. Seen through the lens of the photographers contemporary with Paik, he is an artist who, with an open and liberal attitude more than anybody else, never stepped back from the intensity of his artistic life, and who believed “what mysteries the encounter with other people holds for our insubstantial lives.”(1984)
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writer - Seong Eun Kim/ An anthropologist specializing in museology and contemporary art, Kim’s areas of research interest include the material and bodily agency of media art and the sensorial dimensions of art museums in performing knowledge. Having worked in Nam June Paik Art Center from 2011 to 2014, Kim is now in charge of education and public programs in Leeum, Samsung Museum of Art.