백남준
白南準
НАМ ДЖУН ПАЙК
نام جون بايك
נאם ג’ון פייק

source: paikstudios

Nam June Paik’s journey as an artist has been truly global, and his impact on the art of video and television has been profound.To foreground the creative process that is distinctive to Paik’s artwork, it is necessary to sort through his mercurial movements, from Asia through Europe to the United States, and examine his shifting interests and the ways that individual artworks changed accordingly. It is my argument that Paik’s prolific and complex career can be read as a process grounded in his early interests in composition and performance. These would strongly shape his ideas for mediabased art at a time when the electronic moving image and media technologies were increasingly present in our daily lives. In turn, Paik’s work would have a profound and sustained impact on the media culture of the late twentieth century; his remarkable career witnessed and influenced the redefinition of broadcast television and transformation of video into an artist’s medium.
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source: triangulationblog.

Tras cursar sus estudios de música en Seúl este artista de origen coreano, Nam June Paik se trasladó a Japón (1950), para realizar una tesis sobre Schönberg. Más tarde visitó Alemania, consiguiendo entrar en el laboratorio de investigación de música electrónica de Radio Colonia, desarrollando desde un primer momento un agudo sentido del escándalo público e introduciéndose en la experiencia fluxus , que le lleva a la creación de música indeterminada. Ver más dentro del post;

Bajo su influencia se inició en el terreno del performance y la música experimental, realizando una serie de anti-films desprovistos de imágenes. La popularidad le llegó a través de su participación en performances eróticas y extravagantes, de corte neodadá e influencia Zen, junto al artista y compositor John Cage. En 1970, y tras cuatro años de trabajo con Shuya Abe, logra acumular sus pasadas experiencias en una única consola, siendo su programa Buenos días señor Orwell (1984) el primer programa simultáneamente retransmitido en Corea, Estados Unidos y Europa. En toda su producción se revela una actitud humorística e irreverente que plasma en la pantalla de televisión, entendiendo éste como medio específico y objeto que posee cualidades en sí mismo. Busca integrar las nuevas tecnologías en la naturaleza, con la creación de paisajes electrónicos: TV Garden (1974), Peces reales / peces vivos (1982) o Una vela (1988). Si ya en los sesenta comienza a experimentar con el láser, es en sus últimas producciones, en colaboración con el técnico Norman Ballard, cuando se sirve de él plenamente creando nuevos espacios con luz y movimiento propios de talante hipnótico, como en La escala de Jacob (2000), instalación especialmente realizada para la retrospectiva del Salomon R. Guggenheim Museum de Nueva York.
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source: grandmastolemycloset

Considered the pioneer of electronic art, Nam June Paik (South Korea 1932-2006) had a prolific career which includes projects of tv, performances, installations and collaborations. Initially studied history of music and art in Japan, dedicating his thesis to the composer Arnold Schoenberg. Years later, in Germany, he met the legendary avant-garde composer John Cage and under his influence became involved with the Fluxus movement of the 1960s founded by George Maciunas. In his first solo exhibition, Exposition of el Music-Eletctronic Television (1963), in Germany, he arranged 12 televisions in the gallery space and changed the course of the history of video art. Moving to New York in 1964, collaborated with classical cellist Charlotte Moorman in projects that mixed music, performance and video. Together they performed pieces such as “Opera Sextronique” (1967), in which Mormam played the cello with her breasts covered only by two little televisions. One of the most important contributions of Paik was to expand the definition and the language of artistic creation, introducing the concept of video installation by the use of multiple monitors, as in “TV Garden” (1976), he gave a new demension to possibilidadws sculpture: Additionally, pieces like “Magnet TV” (1965) and “Participation TV” (1964) can be seen as precursors of interactive art. Technological innovation was a key element in his career. With the Japanese electrical engineer Shuya Abe, developed image and video processors. The global art project “Good Morning Mr. Orwell” (1984) was broadcast via satellite to New York, Paris, Berlin and Seoul. The post-video works lasers used, as seen in retrospect “The World of Nam June Paik” (2000) conducted by the guggenheim museum in New York. Paik worked assiduously with friends and artists from various fields: “Global Groove” (1973) includes sequences of John Cage and Allen Ginsberg. His working method was revolutionary and helped in the destruction of the closed concept of practice and understanding of art.

The opening words of “Global Groove” Paik was prescient: “This is a glimpse of the video landscape of tomorrow, when you will be able to switch any TV station on the Earth, and tv guides will be as fat as the Manhattan telephonebook.” Paik’s work had a profound impact on the XX century media culture, he watched and influenced the redefinition of broadcasting, as well as the complete transformation of video art.
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source: capecauspbr

Paik é considerado o pai da vídeo-arte (e também da vídeo-instalação). Sua postura transgressora mais conhecida é o fato de ter manipulado as imagens em vídeo com o uso de um imã sobre o tubo do aparelho de televisão. Daí, foi um passo para o artista lidar também com as primeiras imagens sintéticas, desvinculando o vídeo da idéia puramente referencial e buscando ativamente uma linguagem videográfica. Paik nasceu no ano de 1932, em Seul (Coréia), e entre os anos de 1956 e 1961 obteve uma forte formação musical. Participou, juntamente com George Maciunas, John Cage e Joseph Beuys do grupo Fluxus, em meados de 1962. Estagiou como artista na WGBH-TV de Boston (EUA) em 1969 e na WNET –TV de New York (EUA) em 1971. Seus trabalhos são muitas vezes constituídos pelo vídeo como elemento de composição aliado à performance.