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.
경기문화재단
Nam June Paik Exhibition Nam June Paik Media ‘n’ Mediea
2019-02-16 ~ 2020-02-20 / Nam June Paik Art Center
For more information on 'Exhibition', please visit the Nam June Paik Art Center. |
Nam June Paik Exhibition Nam June Paik Media ‘n’ Mediea
■ Introduction
“Like McLuhan say, we are antenna for changing society. But not only antenna 〔…〕
My job is to see how establishment is working and to look for little holes where I can
get my fingers in and tear away walls.” (Nam June Paik)
Nam June Paik Media ‘n’ Mediea explores the message embedded in “Nam June Paik Media” which not only acutely captured the contemporary society, but also envisaged a new future through the artistic intervention in technology, and therefore, is still so contemporary and alive.
The exhibition featuring the works from the NJP Art Center’s the major collection is organized around Paik’s Global Groove (1973), “a kind of imaginary video-landscape that anticipates what is going to happen when all the countries in the world become interconnected via cable television.” Paik predicted that the video would be able to serve as a medium to promote understanding of each other’s cultures and elaborated this insight in Global Groove that aired on WNET. His vision of the future in which this work, a collage of songs and dances around the world, will spread through “video common market,” as if foreseeing today’s Youtube, is a transparent society in which people join up with each other, on the basis of post-World War ll, mutual understanding all over the world, that is, a warless society. It is the dream of a global village.” (Irmelin Lebeer)
The exhibition presents various stages of television experiments and artistic explorations which correspond to the artist’s great vision expressed through electronic media by the ‘global man’ Nam June Paik. The exhibition hall as the “future video-scape” reflects a modern everyday space surrounded by commercial AI-based applications and accessible screens. In this age when technological media are changing the topography of our daily life more than ever before, we expect this exhibition will offer the opportunity to look back on what kind of message technology and media send to our present and future life, through the thoughts of the ‘media visionary’ Paik.
■ Artworks
▶1.TV Garden, 1974/2002, TVs, live plants, amplifiers, speakers, 1channel video, color, sound, 28min 30sec, dimensions variable
Televisions lie around as if blossoming, in this dense garden of real plants and bushes. What is played on the monitors is the video Global Groove which consists of dazzling sequences of music and dance from different parts of the world, from diverse types of art and culture, born out of Paik’s typical style of video synthesis. Without a master narrative of weaving the disparate elements, this video seems to recommend a simple and intuitive viewing. TV monitors in TV Garden reveal their presence by being placed at an unusual angle. Viewers are led to look down the television monitors facing upwards or lying on the side slantingly; they are led not to concentrate on one monitor but to watch multiple monitors at the same time. The natural environment which is artificially created and maintained inside the museum, and the television, a symbol of technology, which is often regarded as opposite to nature, form a single organic space. Here electronic images, coming from the television monitors and traveling through the leaves to the video’s musical rhythms, become part of the ecological space, in which Paik made the stimuli of pixels and the greens of foliage dance together in a constantly changing flux.
▶2.Nixon TV, 1965/2002, 2 TV monitors, coil, signal generator, amplifier, condenser, timer, 1channel video, color, silent, dimensions variable
his work is one of the Paik’s earliest television experiments. Signals from the generator are amplified by the amp; electric currents flow through the coils installed on the two monitors. When the current flow is switched between the two monitors, it distorts the electric signals on the screens, making comical images of former American president Richard Nixon. Nixon was defeated by John F. Kennedy because he failed to win a positive image in the famous TV debate in 1960. Paik created this work by witnessing the turning point in the effects of media.
▶3. Exhibition Highlight of 《Electronic Art II》 at Galeria Bonino, 1968, 3min 34sec
Nam June Paik inaugurated one of his four solo exhibitions under the title of Electronic Art II at the Galeria Bonino, New York, in 1965. These exhibitions presented a video aesthetics different from that of his single channel videos aired by broadcasting stations. This video showed a sketch of the 1968 exhibition Electronic Art II featuring Paik’s experimental TVs and various video sculptors. One of the Paik’s works included in the video is Caged McLuhan which was produced with the same mechanism of Nixon TV. This variation of the face of the media theorist Marshall McLuhan gives us a clue to guess the complementary relationship between Paik and McLuhan who provided an insightful analysis of media in his classic book Understanding Media. Also, the video helps us to read the message of Paik’s media which found the interactive possibilities of TV, inspired by McLuhan’s idea of “the medium is the message,” meaning that TV is not a one-way medium but that there can be many variations on it through an artist’s intervention.
▶4. TV Clock, 1963–1977/1991, 24 manipulated TVs, dimensions variable
One of the early work of TV installation by Nam June Paik and this work consisted of 24 TV monitors. The 24 monitors symbolizing 24 hours a day and each monitor showing inclination the line in expressing time. This becomes feasible to remove inducement device of tube in TV and a line image visualized. 24 color TV monitors, this work convey the passage of time in the most peaceful atmosphere through meditation.
▶5. Charlie Chaplin, 2001, 4 CRT TVs, 4 radio’s cases, 1 LCD monitor, 2 bulbs, 1channel video, color, silent, 185 x 152 x 56 cm
With movies such as The Gold Rush, Modern Times and The Great Dictator, Charlie Chaplin as a comic actor and a movie director continuously commented on the issue of recovering humanity in the age of materialism. In his masterpiece Modern Times, he depicted a society dominated by capitalism and machine civilization, and criticized the loss of humanity in his typical way of lyrical satire. Paik was also preoccupied with the issues of humanized technology and the harmony of humans and technologies, and so it is no wonder that Paik represented Chaplin in his robot sculpture. The body of Charlie Chaplin is composed of a vintage monitor, old televisions and radios, and the bulbs reminiscent of gas lamps in Chaplin’s films are its two hands, which has an oldworld atmosphere delivering nostalgia for the era of black and white films. Five monitors show the edited scenes from Chaplin’s movies.
▶6. Global Groove, 1973, 1channel video, color, sound, 29min 39sec
Produced in cooperation with WNET, the New York City public television station, and aired first on January 30, 1974, Global Groove is Paik’s representative video work that puts together a series of dance and music scenes from various cultures, as is suggested by the title. Beginning with Paik’s introductory statement that “this is a glimpse of a video landscape of tomorrow 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,” this video presents a counterpoint of Rock ‘n’ Roll and a drum sound played by female Navajo Indians and a collision between the Korean fan dance and a tap dance rhythm.
A combination between Beethoven’s Moonlight Sonata and Stockhausen’s electronic music also reinforces this coexistence of culturally conflicting elements to which are given equal status in this video. By puffins together g heterogeneous and opposing elements, Paik aimed to create a complex cultural map that would transcend national borders, in anticipation of the coming globalization that would be brought about by the TV.
▶7. Bob Hope, 2001, 2 CRT TVs, 3 LCD monitors, radios & CRT TV’s cases, 1 channel video, color, silent, 141 x 116 x 33 cm
Bob Hope was a popular comedian, actor, singer, dancer and author, and made appearances in different fields including radio and television programs, movies and theaters. Paik made a series of works featuring such celebrities as Humphrey Bogart, David Bowie, Lauren Bacall and Marilyn Monroe as well as Hope. This is derived from Paik’s consistent interest from the 1970s in the power of mass media, the media consumption of images, the boundary between high art and popular art. In a broadcast program produced by ‘Cable Soho,’ the artists’ collective in New York, in 1984, we can see the artist.
Jaime Davidovich infiltrating a press conference with Hope and asking a question about video art and Paik. Hope did not know about these at all at that time; however, he expressed his positive views on a television of the future to be developed by experimental artists, and wished to become part of the future. As if to respond to this, Paik’s Bob Hope transforms Hope, the embodiment of the American television culture, into a kind of robot that is the past and the future of Hope at once.
▶8. Swiss Clock, 1988, closed-circuit camera, clock, 3 TV monitors, tripod, dimensions variable
A CCTV camera captures the movement of a striking clock’s pendulum, which is screened on three televisions in real time. On the monitors that are placed in three different directions, the motion of the same pendulum is shown from three different angles. This work manifests the circular relationship between image and reality in the operation of closed-circuit TV. By recording the clock’s movement in this way, it also visually embodies the abstractness of flows of time. It may be said that Swiss Clock is one of the expressions of Nam June Paik’s interest in ‘non-linear time’
▶9. Fontainebleau, 1988, 20 Quasar color monitors, metal grid, gold-painted wooden frame, 2 channel video, color, silent, 195 x 235 x 4 cm
In a magnificent antique wooden frame painted in gold, 20 color (2-channel) monitors show rapidly-changing colorful abstract images. The title was probably taken from the Fontainebleau castle in France; the castle was not only the splendid residence of French kings including Napoleon but also a prototype of the ‘gallery,’ a space where paintings are hung side by side. The gallery of Francis I, in particular, displayed paintings on the walls surrounded by splendid gold decorations. “As the collage technique replaced oil painting, cathode ray tubes will replace canvas.” This is probably what Paik wanted to say through this work.
▶10. Zen for Film, 1964, 16mm film projector, film
The film is simply a transparent blank film, which accumulates dust and scratches as it passes through the projector over time with each successive screening. Zen for Film sets indetermined circumstance by being projected empty film. This is Paik’s analogy to John Cage’s 4’33” (1952) including noise and silence in the music.
▶11. Peter Moore Nam June Paik’s , as part of 《New Cinema Festival I》 at Filmmakers’ Cinematheque, New York, 1964, b & w photography, 40 x 59.5 cm
Paik stood in front of the running projector himself while performing Zen for Film as part of the New Cinema Festival I held at the Filmmakers’ Cinematheque in New York, as photographed by Peter Moore. The installation of the same name consists of an endless loop of unexposed film running through a projector. The resulting projected image shows a surface illuminated by a bright light, occasionally altered by the appearance of scratches and dust particles in the surface of the damaged film material.
When the viewer stands in front of the projector, their shape and movement becomes part of the performance.
▶12. I Wrote it in Tokyo in 1954, 1994, antique TV cabinet, 10 inch color CRT TV, mini CCTV camera, incandescent light bulb, Reuge 144-note music box, 49 x 48 x 47 cm
This work is based on Paik’s composition in one movement, consisting of 144 notes, which was composed during his first year in college. Paik incorporated the movement into his 1994 work in a way that it was played by an antique musical instrument made in the 18th century and then put it into an old TV set from the 1950s. The hypnotic image appearing on the screen shows the mechanism of a revolving music box. However, it is not an actual mechanical device but an image captured and projected in real time by a camera installed in a TV set. Paik combined the image of modern electronics and the tradition of old but familiar TVs and music boxes and thereby created an object which was a jumble of surrealism, poetry, and a little bit of camp. Here, the past, the present, and even the future which Paik was intended to show through his work all appear on the same screen.
▶13. Candle TV, 1975/1999, candle, TV case, 34 x 36 x 41 cm
A single lit candle stands inside the shell of a vintage TV. Light represents the beginning of human civilization. Paik once said that a light source is like a piece of information. In this work, he considered television the beginning of a new type of civilization.
▶14. The Rehabilitation of Genghis-Khan, 1993, TV monitor, 10 TV cases, diving helmet, neon tube, bicycle, fuel dispenser, plastic pipes, clothes, 1channel video, color, silent, 217 x 110 x 211 cm
The Rehabilitation of Genghis-Khan is a robot sculpture produced on the occasion of the Venice Biennale 1993, materializing the concept of a new Silk Road that connects the East and the West has been substituted with a broadband electronic highway. This Genghis-Khan of the 20th century is riding a bike instead of a horse, wearing a diving helmet. His body is made of a fuel dispenser made of steel and his arms plastic pipes. The back of his bike is loaded with television cases, which are filled by symbols and characters made by neon lights. The neon symbols suggest a possibility of condensed delivery of complicated information through an electronic highway. The video displayed on the screens present a series of images that morph themselves, i.e. from a bottle to a pyramid and from a ceramic bowl to a kettle, while abstract geometrical patterns are alternating. In his robot sculptures such as Marco Polo, The Rehabilitation of Genghis-Khan, Alexander the Great and Tangun as a Scythian King, Nam June Paik emphasizes the coming of an age with a new paradigm that is realized with the help of software development through broadband communication, which is a step forward from the old age when power and domination were achieved by means of transportation and movement.
▶15. Key to the Highway(Rosetta Stone), 1995, Print, 86 x 71 cm
Paik realized his idea of ‘electronic superhighway’ in the shape of the Rosetta stone that was discovered in a small village called Rosetta by Napoleon’s army during his campaign in Egypt. The inscription on the Rosetta Stone was a decree issued by the ptolemaic Dynasty, un three languages: ancient Egypt in both its hieroglyphic and demotic script forms, and ancient Greek, is composed of a video drawing in the upper part, the description of Paik’s artistic career in many languages in the middle part, and images excerpted from his video art, how he participated in the Fluxus art movement, and the relationship with other artists who inspired and were inspired by him in four languages such as Korean, English, French, German, and Japanese – a great epitome of how and in what direction his art developed.
▶16. Joseph Beuys, Douglas Davis, and Nam June Paik Documenta 6 Satellite Telecast, 1977, color, sound, 29 min 11 sec
Documenta which takes place every five years in Kassel, Germany is one of the most important exhibitions of contemporary art. Documenta 6 in 1977 marked the first live international satellite telecast of artists’ performances. This project, involving three artists, Nam June Paik, Joseph Beuys, and Douglas Davis, was broadcast in more than 25 countries. Nam June Paik with Charlotte Moorman gave performances at this Documenta, such as TV Bra, TV Cello, TV Budda, and TV Bed, which combined various forms of art including music, performance, video sculpture, and TV. While giving the performances, Paik occasionally hinted that he and the TV audience could communicate with each other through satellite transmission. At the same place, Joseph Beuys announced his utopian notion of “social sculptor,” which is essential to his art, to the public. And Douglas Davis performed The Last Nine Minutes in Caracas, Venezuela, expressing the spatial / temporal distance between him and the audience by knocking at a television screen from inside the set.
▶17. TV Fish(Video Fish), 1975/1997, 24 TVs, 24 Fishes tanks, live fishes, 3 channel video, color, silent
24 televisions are placed behind a row of 24 fish tanks. Live fishes swim around inside the fish tanks while a series of moving images are played on the TV monitors, such as dancing Merce Cunningham, swimming fishes in the sea, and a flying airplane in the sky. The superimposition of a fish tank and a television monitor exerts the effect of spatiotemporally combining a real fish with a video image of fish. In the overlaps of images, Cunningham is dancing with a fish; fishes are swimming in the sky; and an airplane is floating in the sea. The visual composition, in which a fish tank becomes a monitor and vice versa, lets viewers look at the video images from a new perspective and perceive the television monitor as a frame defining and constraining what is shown. Dealing with the relationship between realities and representations across the frame of screens, Paik often employed elements from nature. He contrasted ‘being true-to-life’ of television images enabled by technology on the one hand, and the ‘aliveness’ of natural realities on the other, whereby he emphasized their coexistence and correspondence rather than bringing into relief their difference.
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Nam June Paik Exhibition Nam June Paik Media ‘n’ Mediea
Period/ 16 February, 2019(Sat) – 20 February, 2020(Thur)
Venue/ Nam June Paik Art Center 1F
Curated by/ Chaeyoung Lee(Curator, Nam June Paik Art Center)
Artists/ Nam June Paik
Organized and Hosted by/ Nam June Paik Art Center, Gyeonggi Cultural Foundation