NamJune Paik's first image art work shows us a series of images selected from TV programs by using the distortion effect of magnets and image signal converters near the cathode ray tube of the display. This work deconstructs the mass media and one-way communication of TV. This style has been continued in Mr. Bai's later works. NamJune Paik used a closed-circuit television system to guide viewers to observe their own real-time images. He uses portable video equipment to play the recorded images to the audience and move the records at the same time. This creative method also integrates the audience's reaction into the works of art itself. This solo exhibition sponsored by Duarte China Gallery mainly shows Mr. NamJune Paik's image sculptures in 1980s and 1990s. A series of TV experiments made in 1960s to convert TV pictures into new images through video signal converters, performance photos made with Charlotte Moorman (1963- 1975) * * in 1970s, and Swiss clock (1988) using closed-circuit television system are also in this exhibition. In addition, video sculptures Newton (199 1) and Darwin (199 1) will be exhibited. This is also the first appearance of these two works in Asia.
Young artists who are active on the stage of modern art in China are actively expanding their imaginations and making different attempts. Mr. NamJune Paik's solo exhibition is of great significance as the second exhibition of Duarte China Gallery.
Mr. NamJune Paik told us that we can win if we abide by the rules of the game, and we can win if we change the rules of the game (Korean Diary, August 15, 1992, South Korea). Let's follow in the footsteps of this talented artist who never gives up and walk into his video art garden. NamJune Paik1949 was born in Odessa, Ukraine, and now lives and works in Karlsruhe, Germany.
He used to be the curator of the New Art Museum in Graz, Austria, the professor of the Vienna Institute of Advanced Art, the commissioner of the Venice Biennale in Pavillon, Austria, and the president of the Frankfurt Institute of New Art..
Since 1999, he has been the chairman of ZKM Building Technology Center (Karlsruhe, Germany). NamJune Paik is a model of surfing artist. He is the core member of the most important avant-garde art-music pioneer, film pioneer, behavior pioneer and media pioneer, which rose after 1945. Behind all the activities is his keen interest in analog technology and digital technology.
Many ideas put forward by Surfing School, imitating Dadaism and Futurism, became popular in the second half of the 20th century:
1. Integrate music and action, machine and human body, painting and music, sculpture and painting, drama and dance, poetry and technology, and redefine art schools and art media;
2. Realize the blending of various arts and the blending of art and life;
3. Audience participation and action guidance;
4. Use electronic media;
5. New methods (such as programming), new media (such as television) and new materials (such as chips). This large-scale redefinition has led to the emergence of conceptual art, electronic music, video art, extended film, action art, body and performance art, satellite TV, installation art, environmental art, performance art, program art and instruction art.
Looking back on Mr. NamJune Paik's brilliant artistic career, we find that he has dabbled in all aspects of surfing school art, and there are many artistic fusion forms in his works, which are unparalleled among many surfing school artists. He combines music with action, combines new materials with new media, and combines technology with the human body. He combined sculpture with electronic images and invited the audience to participate. Compared with powys, NamJune Paik is an activist with a core position among artists in surfing schools. NamJune Paik himself is closer to the idea of surfing school.
Powys is interested in myths and obsessed with reinterpreting traditional intergenerational materials, while NamJune Paik has a soft spot for new materials such as electronic devices, media and mutated technology products. Powys exercised himself, while NamJune Paik cultivated the masses. Powys is a material mystic, while NamJune Paik is a media mystic. His music works and action works created in the 1960s are legendary, which can be described as the core works of European and American avant-garde. Most of his peers couldn't keep up with the next step of this art movement, that is, media art, but NamJune Paik first realized that musical instruments not only changed the sound, but also changed the use of music.
Therefore, in 1963, in the historic exhibition "Interpretation of Music-Electronic Television", he exhibited electronic musical instruments as a sculpture and as a part of the whole work. Since then, NamJune Paik's artistic expression has joined the media in addition to music. Besides the piano, he also composed this piece with the help of an electronic synthesizer.
1965 held the first solo exhibition in the United States, named "Electronic Art". From this, we can see that NamJune Paik consciously turned from electronic music to electronic art, and his rich creative experience and understanding of electronic music (in cooperation with Karl Hindes Stockhausen and John Cage) made him realize the great significance of the coming electronic art era.
At that time, only he realized the transformation from music to vision, from sound synthesis to image synthesis. 1963' s solo theme clearly expresses this change from electronic music to electronic media. This is a decisive moment, which opens a new era, that is, the era of electronic media art, and NamJune Paik is the pioneer of this era. One of his major artistic achievements is the transformation from musical instruments to media installations. In addition, he changed his creative theme from electronic music to electronic media, explaining and expressing liberalism, variability, participation and openness.
In 1963, he wrote, "Although uncertainty and variability are the primary problems in the field of music in recent ten years, they are incomplete parameters in opal art." Therefore, he focused on equipment parts, electronic music programming and surfing music, and opened up a unique field of media art by introducing TV and video equipment. At the same time, he never forgets, often mentioning his predecessors Wolff Foster and K.O.G? Tz (Korea)
Through a series of fast-paced creative activities, he finally developed the framework of media art in the 1960s, and most importantly, he let the world know the school of image installation that conquered the whole art world in the 1990s. He started with the multi-monitor equipment TV Cross (1966) and transformed the TV image (1967), and later completed the robot K-456 (1964) and White/Abel images.
/Kloc-0 held the exhibition "NamJune Paik: Cybernetics, Art and Music (Electronic TV, Color TV Experiment, Three Robots, Two Zen Boxes and a Zen Pot)" in new york in 1965, which was another major solo exhibition of his art.
This solo exhibition records the process of NamJune Paik's integration of media and musical instruments, music art and visual art, Zen and western electronic consumer culture, and should become a "brand", that is, the future trademark of NamJune Paik. This photo of NamJune Paik working in the studio of new york was taken in the mid-1960s of 19, which shows us that this artist really inherited the mantle of Lisinski and Laszlo Moeli Naki. In addition, as early as 65438+1960s, he had put forward the central feature of all future media devices: public participation. His work Interactive TV I (1963-1966) became the first work of participatory art practice and interactive art practice in the following decades.
Powys wrote in the article "On Music Exhibition" published in the third issue of décollage 1962, "What to do next is still unclear, and I want the audience (here is the congregation) to perform by themselves". While changing to "audience participation", he also turned his attention from music to TV and video.
1973, he realized that the wave of globalization is making video a "global enjoyment". The opening line of describing "global enjoyment" is the following sentence: "This is just a prospect of future images. By that time, you can switch to any TV station on earth, and then the program guide will be as overwhelming as the Manhattan phone book. "
1984, he made the global satellite broadcast of "Good morning, Mr. Orville" come true. We can see that as early as 1974, NamJune Paik dreamed of transforming TV into a two-way communication mode, not just a one-way information transmission channel.
From 65438 to 0974, the Rockefeller Foundation entrusted NamJune Paik to write a paper entitled Media Planning in Post-industrial Society.
This paper argues that LA and new york can be integrated by means of "electronic highway, home satellite broadband communication network, coaxial cable and optical fiber, etc.".
1993, he represented Germany in Venice Biennale and named his installation booth "Electronic Highway". This can't help but remind people that he foresaw the idea put forward by President Bill Clinton from 65438 to 0992.
1995, the American government finally turned President Clinton's electronic information superhighway plan into reality. In addition, NamJune Paik made an accurate prediction on the birth and development of the World Wide Web. NamJune Paik is not only the founder of media art, but also a prophet. In this sense, he is similar to marshall mcluhan. Mcluhan is more like a media person on Wall Street and Manhattan. He is widely welcomed by print media because he broadens their horizons and makes them realize the significance and importance of new media.
NamJune Paik is more like a metaphysical media person. He is deeply loved by mass media and art circles, and it is also because he broadens their horizons and makes them realize the significance and importance of new media. NamJune Paik has a deep insight into the media, so he can predict the future vision of the media decades in advance.
His artistic creativity partly stems from his predictive ability. His works cover various arts, such as dance, drama, painting, literature and sculpture. His creative tools are all kinds of media and instruments, and his creative themes span a lot, from the significance of cosmology to daily real life.
In addition, NamJune Paik's art has built a bridge of communication between religions and the mainland on a global scale, which has enhanced our understanding of space and time. As a hidden religion in secular life, Zen helped NamJune Paik understand the true meaning of technology in daily life, thus realizing the blending of religious activities and daily life.
Therefore, we can say that he combined religious art (Buddhism is a religion that runs through secular life) with surfing art (surfing art is an art in daily life). In order to build this bridge, he must understand the essence of technology: God's technology.
Every technology is a sacred technology, and every technology also has a religious meaning. Perhaps changing our world by understanding the media is the central idea of NamJune Paik and his media metaphysics.