미술사와 내셔널리즘:정체성과 보편성의 역학

정무정 서양미술사학회 2009 서양미술사학회논문집 Vol.31 No.-

In the Korean art community, Nam June Paik has secured so absolute an position as the creation of ‘Nam June Paik Study’ can be possibly discussed to take its root as a great thinker in the end of the 20th century beyond the assessment as ‘the creator of video art’ or ‘a world avant-garde artist born in Korea.’ However, could it be confidently said that a desire to reveal the potentiality and excellency of Korean art does not twist through his fame behind the praise of Nam June Paik? It is not easy to pick out Korean tradition or national factors based on the artistic foundation of Nam June Paik, who majored in art history and aesthetics at Tokyo University, Japan and modern music at Freiburg Music School and München University, Germany and mainly worked in Europe and in the State. Thus when we look back on the contention of scholars such as Benedict Anderson or Eric Hobsbawm explaining nationalism as ‘imagined community’ or ‘invented tradition’, it can be said not to be unreasonable understanding high compliment of Nam June Paik in the Korea art community as a result of reflection of nationalistic vision. Then how is the assessment of Nam June Paik in Europe and the States where he mostly worked? The modifier ‘a Korea-born world video artist’ commonly used in the Korean art circles has also been utilized in the western art community, though it is a somewhat transformed form. For example, let’s look into the explanation of Nam June Paik appearing in H. W. Janson’s History of Art, having become the model of the survey of art history and the most widely used art text since it was first published in 1962: “His chief legacy today lies perhaps in the stimulation he provided his many students and collaborators. Among them was Nam June Paik (born 1932). The sophisticated video displays of the Korean-born Paik fall outside the scope of this book.” In Janson’s text, Nam June Paik is simply mentioned as a witness displaying John Cage’s legacy and an important person of video art going beyond the range of the text. In case of making quite detailed explanation of his video art, Nam June Paik’s biographical background mostly accounts for that part. For example, Laurie Schneider Adams wrote in her book, A History of Western Art as below. “One of the leading exponents of video art is the Korean-born composer, performer, and visual artist Nam June Paik. He studied philosophy, aesthetics, and music at the University of Tokyo, and in 1956 went to Munich to study music. In Germany Paik met the avant-garde musician John Cage and worked with Joseph Beuys. In the late 1960s Paik began to create video sculptures consisting of television monitors arranged in significant shapes.” What is the reason for that mentioning a nationality or biographical background for non-European artists does not drop out in art history texts? On one hand, it can be considered inevitable due to limit on information and knowledge of non-western culture in this kind of writing. In fact, the author of History of Art wrote in his preface “Why, indeed, should one not include artists who embody very different sensibilities from that of the European and American mainstream? There is, in principle, no reason to exclude them. However, I have decided to limit this edition to Western art for reason both practical and philosophical.” However, on the other hand, it is not unrelated to an attempt to grant an oriental identity to non-western artists. Namely, it is said to be the device of discrimination and elimination trying to typifying and stereotyping non-western artists and having them stay around the marginal of the U. S. art circles. The only inclusion of non-western artists in the category of western art history is that the fantasy of such typifying and stereotyping becomes impossible as Homi Bhabha indicated in his book The Location of Culture. In this sense, Nam June Paik incorporated to western art history is the only Korean... In the Korean art community, Nam June Paik has secured so absolute an position as the creation of ‘Nam June Paik Study’ can be possibly discussed to take its root as a great thinker in the end of the 20th century beyond the assessment as ‘the creator of video art’ or ‘a world avant-garde artist born in Korea.’ However, could it be confidently said that a desire to reveal the potentiality and excellency of Korean art does not twist through his fame behind the praise of Nam June Paik? It is not easy to pick out Korean tradition or national factors based on the artistic foundation of Nam June Paik, who majored in art history and aesthetics at Tokyo University, Japan and modern music at Freiburg Music School and München University, Germany and mainly worked in Europe and in the State. Thus when we look back on the contention of scholars such as Benedict Anderson or Eric Hobsbawm explaining nationalism as ‘imagined community’ or ‘invented tradition’, it can be said not to be unreasonable understanding high compliment of Nam June Paik in the Korea art community as a result of reflection of nationalistic vision. Then how is the assessment of Nam June Paik in Europe and the States where he mostly worked? The modifier ‘a Korea-born world video artist’ commonly used in the Korean art circles has also been utilized in the western art community, though it is a somewhat transformed form. For example, let’s look into the explanation of Nam June Paik appearing in H. W. Janson’s History of Art, having become the model of the survey of art history and the most widely used art text since it was first published in 1962: “His chief legacy today lies perhaps in the stimulation he provided his many students and collaborators. Among them was Nam June Paik (born 1932). The sophisticated video displays of the Korean-born Paik fall outside the scope of this book.” In Janson’s text, Nam June Paik is simply mentioned as a witness displaying John Cage’s legacy and an important person of video art going beyond the range of the text. In case of making quite detailed explanation of his video art, Nam June Paik’s biographical background mostly accounts for that part. For example, Laurie Schneider Adams wrote in her book, A History of Western Art as below. “One of the leading exponents of video art is the Korean-born composer, performer, and visual artist Nam June Paik. He studied philosophy, aesthetics, and music at the University of Tokyo, and in 1956 went to Munich to study music. In Germany Paik met the avant-garde musician John Cage and worked with Joseph Beuys. In the late 1960s Paik began to create video sculptures consisting of television monitors arranged in significant shapes.” What is the reason for that mentioning a nationality or biographical background for non-European artists does not drop out in art history texts? On one hand, it can be considered inevitable due to limit on information and knowledge of non-western culture in this kind of writing. In fact, the author of History of Art wrote in his preface “Why, indeed, should one not include artists who embody very different sensibilities from that of the European and American mainstream? There is, in principle, no reason to exclude them. However, I have decided to limit this edition to Western art for reason both practical and philosophical.” However, on the other hand, it is not unrelated to an attempt to grant an oriental identity to non-western artists. Namely, it is said to be the device of discrimination and elimination trying to typifying and stereotyping non-western artists and having them stay around the marginal of the U. S. art circles. The only inclusion of non-western artists in the category of western art history is that the fantasy of such typifying and stereotyping becomes impossible as Homi Bhabha indicated in his book The Location of Culture. In this sense, Nam June Paik incorporated to western art history is the only Korean ar...

백남준의 ‘포스트-미디어 조건’과 DJ로서의 예술가 - 헤르민 프리드의 《백남준》 비평에 대한 반론 -

김미진 ( Kim¸ Mijin ),김한들 ( Kim¸ Handeul ) 한국영상미디어협회 예술과미디어학회 2021 예술과 미디어 Vol.20 No.2

백남준은 ‘비디오 아트의 아버지’로 불리며 미디어 아트 전개에 핵심적 역할을 한 인물로 알려졌지만, 초기부터 다양한 비판에 부딪혀왔다. 그중에는 그의 작업을 조각적 문맥으로 보는 일면성을 근거로 비디오 아티스트로 볼 수 없다는 주장도 있다. 본 연구는 1982년 휘트니미술관(Whitney Museum of American Art, 뉴욕)에서 열린 백남준 최초의 회고전 《백남준(NAM JUNE PAIK)》의 헤르민 프리드 비평 「백남준 회고전(Nam June Paik Retrospective)」을 이 주장의 구체적인 예로 삼았다. 프리드가 백남준을 조각적 측면에서 “텔레비전 아티스트(television artist)”라고 부르며 이미지 콜라주를 이미지 "재활용(recycle)”이라고 지적한 것으로부터 반론을 진전시켰다. 그의 비판을 현재 시점에서 다시 점검하고자 로잘린드 크라우스, 피터 바이벨, 니콜라 부리오의 포스트-미디어 비평을 통해 살펴보았다. 로잘린드 크라우스와 피터 바이벨의 매체를 바라보는 시각 변화를 담은 ‘"포스트-미디어 조건"(Post-Media Conditions)’에 의해 백남준은 “텔레비전 아티스트”에서 탈출했다. 그리고 니콜라 부리오의 이미지 “"재활용"”으로 동시대 미술에서 DJ로서의 예술가 역할의 선구자가 됐다. 이러한 시도에 의해 프리드가 다수의 문제가 존재하는 작품으로 언급한 < 글로벌 그루브(Global Groove) >(1973)를 재생하는 < TV 정원(TV Garden) >(1974)을 백남준의 중요성을 강조하는 작품으로 변모시켰다. 이 과정에서 우리는 현시대에 그를 바라볼 때 ‘매체특정성(Medium Specificity)’과 ‘원본성(Originality)’보다는 새로운 해석을 위한 열린 개념과 태도가 필요한 것임을 알 수 있었다. 이 연구는 나아가 백남준의 작품세계가 인간과 비인간이 공존하는 지금 펼쳐지는 융·복합적 세상을 실천하기 위한 초석일 뿐만 아니라 미래의 사유를 펼쳐낸다는 것을 확인하게 한다. Nam June Paik, recognized as a father of video art, left his footprint in the development of media art. However, he has been criticized for being named a video artist because his artworks have some sculptural aspects. This study finds the beginning of this criticism from “Nam June Paik Retrospective,” written by Hermine Freed, in response to Nam Jue Paik’s first retrospective at the Whitney Museum in 1982. Furthermore, it develops its discussion through the post-media theories of Rosalind Krauss, Peter Weibel, and Nicholas Bourriaud by focusing on Freed’s comments of “television artist” and image “recycling.” Rosalind Krauss and Peter Weibel’s post-media perspective to see a medium extricates Paik from “television artist.” Moreover, Nicholas Bourriaud’s awareness of an artist’s new role as a Dj in contemporary art emphasizes Paik’s pioneering importance. This study proposes Paik’s artworks, especially TV Garden(1974~1978), as a place where the open concepts and attitudes are prevailed by the above post-media theories despite Freed’s criticism. Nam June Paik’s artworks present a new vision and role of artists and people of contemporary life amid the pandemic. Open concepts and attitudes are now over media specificity and originality for aiming coexistence of human, machine, and nature.

신체의 확장에 대응하는 백남준 예술의 가능성 -TV부처 시리즈를 중심으로

김연호 ( Yeun Ho Kim ) 한국비교문학회 2015 比較文學 Vol.0 No.67

본 연구의 목적은 신체의 확장에 대응하는 예술의 가능성을 백남준의 TV부처 시리즈를 통해 제안하는 것이다. 맥루한은 신체의 확장으로 발생되는 나르시시즘 현상을 감각마비의 원칙으로 설명하고 있다. 본 연구는 오늘날의 뉴미디어 나르시시즘 현상을 극복하는 방법으로 백남준의 예술을 통해 살펴보고자 하였다. 이를 위해 본 연구는 백남준예술에서 핵심요소인 선(禪)사상을 중심으로 그의 작품을 분석하고, TV부처 작품을 통해 확장된 신체에 대응할 수 있는 예술의 가능성을 시도해보고자 하였다. 특히 백남준은 과학예술을 선보인 예술가로 기술에만 경도되지 않고 과학예술에 선사상, 부처의이미지를 결합시킨다. 그는 과학기술의 발달에 의한 비인간성을 회복하는 데 필요한모델로 부처라는 이미지를 활용한다. 본 연구는 신체의 확장에 대응할 수 있는 요소로 예술의 가능성을 백남준 TV부처시리즈를 통해 고찰했다는 데 그 의의가 있다. 이 논의를 통해 기술혁명 시대에 매체예술의 가능성들이 더 도출되었으면 하는 바람을 가져본다. This study proposes potential for Nam June Paik’s art, specifically the TV Buddha series, to counteract extension of the physical body. The principle of numbness, as described by McLuhan, is a result of new media narcissism, which stems from extension of the physical body; this study examined methods for overcoming the phenomenon using Nam June Paik’s art. To do this, the study analyzed Nam June Paik’s Zen-focused works, contemplating the potential for art to counteract extension of the physical body in relation to Nam June Paik’s TV Buddha video art series. Nam June Paik, an artist who creates science-art without restraint by technology, combines Zen and the image of Buddha in this science-art series. He uses the image of the Buddha as a model needed to heal the inhumanness caused by development of technology. This study’s significance lies in presenting, by way of Nam June Paik’s TV Buddha series, the potential for art to contribute to the discussion of extension of the mind. By way of this discussion, this study hopes to uncover and derive further potential for artistic media in the era of technological revolution.

A STUDY ON VISUALIZATION OF MUSIC IN PAIK NAM-JUNE'S VIDEO ART

Song Man-yong,Kim Dong-Hyun,Kim Cheeyong 한국멀티미디어학회 2007 한국멀티미디어학회 국제학술대회 Vol.2007 No.-

Paik Nam-June is known as a Video Artist. However, it is not only a video which has been applied as an art presentation tool by Paik Nam-June. But also, he has used every kind of communication tools, from secondhand TVs to the networks of a satellite, among those made by humans ever. Nevertheless, we can not talk about him without mentioning a video. If it is so, only videos can talk about the art world of Paik Nam-June? There is something continued in Paik Nam-June in the various kinds of changes from this time to now. And I, researcher thinks that the very something is the visualization of music. At this time, music is Avant-garde music which has been affected by Arnold Schonberg, John Cage and etc. as 'noise or dissonance.' As mentioned in the above, we have contemplated the art world of Paik Nam-June, which had started after meeting with John Cage at 〈International Summer Course New Music〉 in Darmstadt in 1958, as the visualization of music, not as a media of video. As the result, the work of Paik Nam-June can be seen to be developed by three kinds of influences, as follow. Sound is shown as action-music performance, with the direct influence of absolute hollowness and noise of John Cage, originated from Zen Buddhism, while the foundation of it is known to be from the liberation of dissonance of Arnold Schonberg and creative impromptu of shamanic sound.

방탄소년단(BTS)와 백남준 작품의 접점을 활용한 세대통합 문화예술교육의 방향성 탐색

주영광 한국예술교육학회 2024 예술교육연구 Vol.22 No.1

본 연구는 시간적 차이를 두고 활동한 한국이 낳은 세계적인 예술가 둘을 고찰해 그들의 예술적 가치와 접점을 살펴보고, 이를 통해 세대통합 문화예술교육의 방향성을 제안하고자 한다. ‘BTS현상’으로 집약할 수 있는21세기의 방탄소년단과 ‘비디오 아트의 아버지’로 불리며 세계적인 영향력을 발휘한 20세기의 백남준을 통해세대통합 형태의 문화예술교육 프로그램의 가능성과 방향을 도출하는데 목적을 둔다. 백남준아트센터 누리집의교육자료(교사용지도서, 작품감상 활동지)에서 제시한 백남준 예술의 주요 예술적 가치인 ‘협업’, ‘시간과 공간’, ‘소통과 참여’의 3가지 키워드를 방탄소년단의 작품에서도 도출해보고 이 가치들을 연결해 다음과 같은 세대통합 문화예술교육의 방향성을 제안한다. 첫째, 백남준과 방탄소년단의 작품에 활용된 재창조의 미학을 학습 도구로 활용하여 학습자에게 작품에 대한 시대적 해석의 실제적 경험을 표현하게 함으로써 적극적인 참여를 유도한다. 둘째, 백남준과 방탄소년단의 작품에 배치된 서사와 오마주, 트랜스미디어를 통한 스토리텔링을 세대 간 소통의 도구로 활용하여 각자의 이야기를 결합해 예술적 향유와 자기주도학습을 돕는다. 셋째, 문화적 원심력과문화적 구심력을 통해 본 백남준과 방탄소년단의 시간에 대한 인식을 활용해 기성세대는 ‘원심력적인 세대 간이해’, 다음세대는 ‘구심력적인 세대 간 이해’를 도모하여 세대 간 통합교육의 지속적 실천을 도모한다. This study examines two globally renowned artists from Korea who have worked at different times, exploring their artistic values and intersections. Through the analysis of these artists, namely one of the 21st-century phenomena as 'BTS Phenomenon’ and the 20th-century figure globally acknowl- edged as the 'Father of Video Art,' Nam June Paik, the goal is to propose directions for intergenera- tional culture and arts education program. The study aims to derive possibilities and directions for cultural arts education blueprint that bridge generations by identifying key aspects in Nam June Paik's art such as 'collaboration,' 'time and space,' and 'communication and participation' borrowing educational materials from the Nam June Paik Art Center (teacher's guidebooks, artwork appreciation activities). Examining how these values are manifested in BTS's works, the study proposes the following directions for intergenerational cul- tural arts education program. Firstly, by employing the aesthetics of re-creation used in the works of Nam June Paik and BTS as learning tools, learners are encouraged to actively participate by express- ing their actual experiences of interpreting artworks in the context of their time. Secondly, by utiliz- ing the narratives, homages, and storytelling through transmedia found in the works of Nam June Paik and BTS as tools for intergenerational communication, the study aims to facilitate active enjoy- ment and proactive learning by combining individual stories. Thirdly, leveraging the understanding of time in Nam June Paik's and BTS's works through cultural centrifugal force and cultural centripetal force, the study promotes continuous intergenerational communication and education. It encourages the older generation to achieve 'centrifugal force-oriented intergenerational understanding' and the next generation to foster 'centripetal force-oriented intergenerational understanding.' This approach aims to facilitate ongoing practices of intergenerational communication and education.

백남준의 전시작품의 실험에 새겨지는 새로운 시대정신 형상화

김소희(Kim, sohee) 한국문화산업학회 2015 문화산업연구 Vol.15 No.2

‘열린 회로의 교향곡’으로서 백남준의 실험은 우리의 일상의 삶과 존재방식을 어떻게 뒤바꾸며, 형상화하고 있는가? 유동하는 포스트 모던의 ‘시각적 사고’는 기폭제로서 새로운 시대정신의 분수령의 계기이다. 백남준은 현대인이 미디어에 지나치게 피동적 존재로 가두는 현상으로부터 작가와 관객으로서‘열린 회로’에서 만나 적극적으로 참여하여, ‘함께 형상화하는’예술 생성의 흐름을 보여주고 있다. 즉 미디어 매체는 유목민의 성격을 이미 부여했음에도 불구하고, 근대 문명은 현대인에게 유목민으로서 ‘속도 조율권’, ‘이질성에 대한 개입’과 ‘유목적 산책’을 차단하였다. 이러한 과정에서 백남준은 ‘좀비-근대’에서 ‘감각의 봉합’의 ‘영혼없는 인형’으로부터 ‘전지구적 소통세계의 감각’을 활발하게 ‘가동’하며, 새로운 시대정신을 형상화하는 예술세계를 새겨주었다. 이에 비추어 볼 때 백남준은‘헤테로토피아의 실험’으로 작가와 관객의 ‘경계 허물기’에서 형상화되는 열린 소통세계 즉‘전지구적 공동참여’라는‘열린 회로의 공동체’를 새롭게 환기하고 있다. 이러한‘헤테로토피아의 실험’의 참여는 충격적으로‘새로운 감각으로 환기하게 하는 시공간’에서 피어내는 ‘문화적 조건’을 연출하고 실험하는 것이다. 즉‘백남준의 실험’은 전혀 상이한 이질적인 요소를 전지구적으로 융합하며, 새로운 관계로 방향을 찾아나아가는‘문명의 대전환’인 것이다. How did the experiment by Nam June Paik change our existence style by "Symphonist Paik"s Open Circuit" and embody our daily life? The visual thinking of the fluctuating post modernismbecame themomentumto divide the newspirit of the age as the catalyst. Nam June Paik presented the creation flow of art which artists and the public meeting in the open circuit progressively participated and embodied art out of the phenomenon which electronic media excessively restricted the human beings as the passive existence. In other words, although media assigned the characteristics of nomad, the modern civilization blocked the right to control speed and intervention and selection of heterogeneity as the nomad. In that process, NamJune Paik created theworld of art embodying the newspirit of the age from"zombie-modernism" to "sealing of sense" and from"doll without soul" to "sense of global communicationworld". In this aspect, NamJune Paik revitalized the community of open circuit, "global participation" and the open world of communication embodying the communication by "breaking down the boundaries" with artists and the public as the "heterotopia experiment". The participation in the experiment is to create and experiment the cultural conditionswhich can astonishingly recreate a space into "the space revitalized by newsenses." In otherwords, his approach is the "great shift" finding out the direction for the newrelationship by converging different and heterogeneous elements. ‘열린 회로의 교향곡’으로서 백남준의 실험은 우리의 일상의 삶과 존재방식을 어떻게 뒤바꾸며, 형상화하고 있는가? 유동하는 포스트 모던의 ‘시각적 사고’는 기폭제로서 새로운 시대정신의 분수령의 계기이다. 백남준은 현대인이 미디어에 지나치게 피동적 존재로 가두는 현상으로부터 작가와 관객으로서‘열린 회로’에서 만나 적극적으로 참여하여, ‘함께 형상화하는’예술 생성의 흐름을 보여주고 있다. 즉 미디어 매체는 유목민의 성격을 이미 부여했음에도 불구하고, 근대 문명은 현대인에게 유목민으로서 ‘속도 조율권’, ‘이질성에 대한 개입’과 ‘유목적 산책’을 차단하였다. 이러한 과정에서 백남준은 ‘좀비-근대’에서 ‘감각의 봉합’의 ‘영혼없는 인형’으로부터 ‘전지구적 소통세계의 감각’을 활발하게 ‘가동’하며, 새로운 시대정신을 형상화하는 예술세계를 새겨주었다. 이에 비추어 볼 때 백남준은‘헤테로토피아의 실험’으로 작가와 관객의 ‘경계 허물기’에서 형상화되는 열린 소통세계 즉‘전지구적 공동참여’라는‘열린 회로의 공동체’를 새롭게 환기하고 있다. 이러한‘헤테로토피아의 실험’의 참여는 충격적으로‘새로운 감각으로 환기하게 하는 시공간’에서 피어내는 ‘문화적 조건’을 연출하고 실험하는 것이다. 즉‘백남준의 실험’은 전혀 상이한 이질적인 요소를 전지구적으로 융합하며, 새로운 관계로 방향을 찾아나아가는‘문명의 대전환’인 것이다. How did the experiment by Nam June Paik change our existence style by "Symphonist Paik"s Open Circuit" and embody our daily life? The visual thinking of the fluctuating post modernismbecame themomentumto divide the newspirit of the age as the catalyst. Nam June Paik presented the creation flow of art which artists and the public meeting in the open circuit progressively participated and embodied art out of the phenomenon which electronic media excessively restricted the human beings as the passive existence. In other words, although media assigned the characteristics of nomad, the modern civilization blocked the right to control speed and intervention and selection of heterogeneity as the nomad. In that process, NamJune Paik created theworld of art embodying the newspirit of the age from"zombie-modernism" to "sealing of sense" and from"doll without soul" to "sense of global communicationworld". In this aspect, NamJune Paik revitalized the community of open circuit, "global participation" and the open world of communication embodying the communication by "breaking down the boundaries" with artists and the public as the "heterotopia experiment". The participation in the experiment is to create and experiment the cultural conditionswhich can astonishingly recreate a space into "the space revitalized by newsenses." In otherwords, his approach is the "great shift" finding out the direction for the newrelationship by converging different and heterogeneous elements.

백남준의 《음악-전자 텔레비전 전시 Exposition of Music-Electronic Television》(1963) 연구 : 전시 연출과 그 효과를 중심으로

한지숙 미술사문화비평학회 2013 미술사문화비평 Vol.4 No.-

The purpose of this study is based on Nam June Paik’s first solo exhibition, entitled 《Exposition of Music-Electronic Television》 which was held in 1963 at Galerie Parnass in Wuppertal, Germany. This was Paik’s first exhibition on the work of electronic television. Furthermore, this exhibition has provided the initial point of Video Art and that counts as an important meaning for researching Paik’s works. In 21st century many art museums are attempting to reproduce Paik‘s first exhibition itself. For this point of view the purpose of this study is focusing on the exhibition installation and its effects of the 《Exposition of Music-Electronic Television》. Paik has solely organized and directed this 《Exposition of Music-Electronic Television》 and also designed the poster. At Galerie Parnass Paik had made the exhibition with operated electric television, scenarios staged with prepared piano and mechanical sound objects along with record players and audio tape installations. Through this exhibition it turned the space of exhibition into an art work. The audience could freely experience the individual spaces which holds its own characteristics by operating the installed art works. All the different materials and physical effects installed in different rooms, all kinds of objects making sound or noise, and furthermore the works that needed audience participation have shown that characteristics of Paik’s major interest about the ‘space’, ‘sound of everyday life’, and ‘Audience participation’. Moreover, Paik has directed this 《Exposition of Music-Electronic Television》 not only dependent on standardized visual part but also multilateral experience approach for open exhibition. Paik’s intention for his exhibition was that the audience could be free inside exhibition space and this intention aroused the unknown artist Joseph Beuys to have spasmodic happening performance in his show. Joseph Beuys have smashed the lying piano on Paik’s show through this performance and Paik was satisfied with Joseph Beuys’s unforeseeable performance. This performance was not only about wrecking the art work but rather ‘homage to Nam june Paik’. For this kind of exhibition circumstance, Paik has made the television which was the linear communication with the audience to the ‘art work that is completed by the audience’. The passive viewers of television have become active viewers through making sound in front of television or operating the images with the sound volume while they are participating on Paik’s exhibition. Moreover, Paik has transformed the main classical instrument piano to attempt Art as a ‘playful’ thing, which was a priority only for the privileged classes. 《Exposition of Music-Electronic Television》 was Paik’s unique exhibition that holds ‘space and the sound’, ‘audience participation’, ‘experimenting new medium’. Paik has made the exhibition space as a one united space environment and did not segregate the ‘Art and everyday life’ and ‘Artist(subject) and Audience(object)’ which have made ‘space’, ‘audience’, ‘new medium’ as an Art.

백남준 미술의 비평은 무엇을 위한 것인가?: 현대미술 비평교육의 인성 교육적 해석 연구

고은실 ( Kho Esther ) 한국예술교육학회 2016 예술교육연구 Vol.14 No.3

본 연구는 난해한 현대미술의 이해를 돕기 위하여, 백남준의 비디오아트를 선택하여 감상, 비평하였다. 선택된 두 작품, 국립현대미술관 소장 <다다익선>과 대전시립미술관 소장 <프랙탈 거북선>은 국내의 기념비적 작품으로 문헌 분석, 인터뷰 자료를 근거로 비교문화적 미술비평 방법론을 통하여 연구하였다. 88올림픽을 기념한 <다다익선>은 TV를 쌓아 만든 한국전통 탑양식으로서 문화유산과 현대발전을 보여주며, 93엑스포를 기념한 <프랙탈 거북선>은 외부 세력에 맞서는 역사문화유산의 민족적 자부심으로의 선조의 지혜와 민족문화적 강점 및 전략을 현대서구문명의 발명품들을 통해 구성하여 제시한다. 연구결과, 백남준 작품의 비평은 한국문화를 통한 한국적 민족애, 문화적 자부심과, 서양발명품들을 통한 인간의 기술능력과 가능성을 보여주며 궁극적으로 사람과 인간성의 가치와 소중함을 강조하는 휴머니즘적 가치관을 심어주는 인성교육적 해석이 도출되었다. 연구의의는 백남준의 비디오아트의 인성교육적 해석을 통하여, 현대 미술 비평교육이 관객에게 올바른 민족애와 세계시민성을 길러줄 수 있다는 것과, 현대한국미술가양성교육을 위해 국제미술계에서 영향력 있고 역량 있게 활동하는 한국인 미술가를 양성하기 위해 현대한국미술이 국제미술계에서 그 가치와 의미의 객관성과 보편성을 인정받기 위한 성공적 전략 가능성을 제시한다. 또한 비교문화적 미술비평교육을 통하여 백남준 미술의 의미와 가치에 대한 대중적 이해와 감상을 높이고자 하였다. This study studied Nam June Paik`s artwork: < The More, The Better > and < Fractical Turtleship > as a example of understanding difficult contemporary art. The artist has known to both Koreans and international audience however his work was not known its meanings and values because it is difficult to see and understand. The chosen artist`s work Paik`s video installation works < The More, The Better > in National Museum of Contemporary Art and < The Fractal Turtleship >in Daejeon Museum of Art was critically analyzed through cross-cultural criticism in contextual art criticism methodology criticizing his work and examining Korean and International art critiques and Paik’s intervew words. My question is “What is the criticism of Nam June Paik`s art for?” The result of this study will give a suggestion to understand such a difficult contemporary art and give an appropriate appreciation and criticism such a super hero of Korean contemporary art, Nam June Paik. The two installation work include grand amount of objects such as televisions sets and daily objects, and the video images and sounds. As results, Nam June Paik`s art was interpreted as the instruction for the Korean audience to appreciate and emphasize the value of people`s potential creativity and enhance ethnic traditions and wisdoms of the ancestors to have the national pride of tradition, in opposition of its appearance of Western invented modern invention of civilization such as Television. This result may be Nam June Paik`s will and testament which he left to Korean people and descendant Korean artists of future generations who will follow him to be disseminated in the international art world and the educational art criticism of contemporary art has the value of character education.

백남준 미디어 아트에 나타난 팝 아트의 특성 연구

홍미희(Hong, Mi-Hee) 한국만화애니메이션학회 2016 만화애니메이션연구 Vol.- No.42

1950년대 대량생산을 포함한 대중매체의 영향력이 증가함에 따라 ‘대중적’이라는 표현이 이슈가 되면서 ‘일상적인 것’에 대한 관심이 커졌다. 그리고 이러한 현상이 미술계에서는 팝아트라는 예술양식을 도출하였다. 미디어 아트는 현대에 매체가 발달하면서 미술을 TV 나 모니터와 같은 미디어를 이용하여 표현하는 것을 말한다. 60년대 백남준, 빌 비올라 등의 작가들을 통해 부각되기 시작하여 최근에는 카페, 공원, 패션쇼, 공연 등 우리 일상에서 쉽게 접할 수 있다. 본 논문에서는 팝 아트의 다양한 기법이 미디어아트에서 어떻게 차용되고 영향을 주었는지를 백남준 작품을 통해서 분석하였다. 따라서 우선 팝 아트와 백남준 미디어 아트의 표현기법과 특성들에 대해서 각각 분석해보고 이를 바탕으로 이들이 가지고 있는 공통점을 찾아보았다. 백남준 미디어 아트와 팝 아트는 기존에 등한시 했던 다양한 일상의 평범한 것들을 소재로 사용함으로써 매체를 확장하였다. 그 다음으로 백남준 작품에 나타난팝 아트의 특성은 관객의 참여다. 과거의 예술은 특정인만이 이해할 수 있고 누릴 수 있는 고급 문화였는가 하면, 팝아트나 백남준 미디어 아트는 다양한 계층이 특정한 지식이 없이도 즐길 수 있도록 예술의 대중화와 관객의 참여에 앞장선 예술사조이다. An interest in "ordinary things" has been increased because public things become issues as the influence of mass media including mass production has been increased in the 1950s. And this phenomenon drew an art style of pop art in the world of art. Media art means that the fine arts are expressed by means of media such as TV and monitors because media has been developed in the modern society. It started emerging through the artists such as Nam June Paik, Bill Viola, and others in the 1960s. Recently, it can be easily accessible not only at the art museum but also in everyday life such as cafe, park, fashion show, performance, and etc. This study analyzed that how many different techniques of pop art were borrowed by especially Nam June Paik media art and how they influenced it. Accordingly, this study respectively analyzed expressive techniques and characteristics of both pop art and Nam June Paik’s media art and then searched for their similarities based on the analysis. Both Nam June Paik’s media art and pop art extended media by using various ordinary things in everyday life neglected previously as a material. Next, the characteristic of pop art shown in Nam June Paik’s media art is participation with audience. While the arts in the past were high-level culture that only certain people could understand and enjoy, pop art or Nam June Paik’s media art is an art trend that has led the popularity of fine arts and audience participation in order to let diverse classes enjoy without any specific knowledge.

문화로봇공학(Cultural Robotics) 관점의 백남준 로봇 연구

장효진(Chang, Hyo-Jin),김영재(Kim, Young-Jae) 인문콘텐츠학회 2017 인문콘텐츠 Vol.0 No.44

이 연구는 문화로봇공학(Cultural Robotics)관점에서 인간이 로봇과 함께 하는 문화, 즉 로봇문화의 구체적인 모습을 백남준의 예술로봇을 통해 조망하고자 한다. 많은 로봇 들 중 백남준의 예술 로봇 작품을 대상으로 삼은 이유는 1)문화로봇공학의 이론과 그 수행이 예술의 절차적 실천에 고도로 위탁된 물리적이고 사회적 존재인 로봇의 학제 간 연구 환경에 있기 때문이며, 2)백남준은 인간과 기계의 소통을 다룬 사이버네틱스에 영향을 받은 예술가로서 미래 로봇의 모델이 될 수 있는 다양한 로봇 작품을 남겼기 때문이다. 백남준의 예술은 플럭서스 운동을 통해 불예측성, 상호작용성을 작품의 필요조건으로 삼고, 사이버네틱스를 방법론으로 하여 인간과 기술의 소통을 실험하였다. 그 결과 백남준의 문화로봇을 분류할 수 있었는데, 그 형태와 소통방식에 의해 ‘매개체로서의 로봇과 인간’, ‘확장된 인간과 인간’, ‘맥락화된 로봇과 인간’의 세 가지로 나타났다. 백남준의 문화로봇은 그 자체가 문화적 존재이면서 사람, 다른 로봇들의 매개체로서도 존재하고, 인간의 통제력과 기계의 자율성, 인공생명에 대한 윤리적 물음에까지 다다르게 한다. 또한 인간의 신체를 기계장치로 확장시키면서 정서적이고 감성적인 소통의 매커니즘을 확보하고 있음을 알 수 있다. 마지막으로 이러한 기계와 인간의 경계 넘음의 역사가 누적되었을 때 새로운 문화적 맥락으로 로봇들만의 네트워크가 만들어질 가능성을 확인시키기도 하였다. 이러한 문화로봇들의 사례를 충분히 검토하고 각각의 특성에 대해 좀 더 깊이 있게 접근한다면 앞으로 만들어 나갈 문화로봇에게 기대할 것과 경계할 것을 나누는데 디딤돌로서 의미가 있을 것이라고 본다. This study aims to look at the concrete aspects of robot culture from the perspective of Cultural Robotics through Paik’s art robots. Nam June Paik’s artistic robots are aimed at: 1) the theory and practice of cultural robotics are in an interdisciplinary research environment with the existence of physical and social beings highly entrusted to the procedural practice of art; and 2) This is because he left various robot works as an artist influenced by cybernetics dealing with human-machine communication. Nam June Paik ‘s art uses Fluxus movement as a necessary condition for the work of unpredictability and interactivity, and experiments the communication between human and technology by using cybernetics as a method. As a result, Nam June Paik ‘s cultural robots appear as ‘robot as a medium and human’, ‘extended human and human’, and ‘contextualized robot and human’. Nam June Paik’s cultural robot is a cultural subject, a medium, and has ethical questions about artificial life. In addition, the mechanism of emotional communication is secured by expanding the human body into mechanical devices. Finally, when the history of the crossing of machines and humans is accumulated, it confirms the possibility of creating a network of robots only in the context of a new culture. If you thoroughly examine the cases of these cultural robots and approach each characteristic more deeply, it will be meaningful as a stepping stone to know what to expect and care for culture robots.