Infoart Exhibition Was Made Possible Through the Ideas and Under the Planning of Nam June Paik It Can Be Divided Into Three Parts

95 KWANGJU BIENNALE -iTdl"I MX11

InfoART Exhibit

1995. 9. 20. - 11. 20. City Art Museun~Woor AN T,43, 10 Biennale Exhibition Hall A 1st floor oTel°~~ -~~l jAl - A-'g- 1

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InfoART Committee Director: Nam June Paik 1'1p Cynthia Goodman AIAlo} - Curator: Kim Hong-hee

he InfoART Exhibition was made possible through the ideas and under the planning of Nam June Paik It can be divided into three parts.

art I is titled "Interactive in Arts & Toolmaking," and it is in some ways the highlight of the- exhibition. This section includes an interactive high-tech art most of which utilizes the computer . Jointly curated by Nam June Paik and Cythia Goodman, 25 artists were selected .

art II is titled "Asian Video Art & Multimedia ." In contrast to x Part I, which was organized at the international level without any regional constraints, Part II is limited to artists from Asia . Part II is subdivided into- 'Asian Video Installations' and 'Korean CD-ROMS . ' Curator Kim Hong-hee selected 13 video artists and 5 computer artists respectively .

art III titled "Whole World Video," is a collection of videotapes. 's In the first half coordinated by Stephen Vitiello, the videotape works of 42 artists were selected by 12 video art curators from around the world. The second part introduces Asian video. For this, Kim Hong-hee selected a total of 9 artists from the Asian region .

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' he theme of the InfoART exhibition is 'interactivity .' In other words, it is the creation of a interactive art that makes possible intersubjective communication between art and the viewer . As seen from the dictionary definition of information, i.e., "the act of informing" or "being informed," information art must be in the form of a dialogue. In a way, all art can be considered information art. Line, color, form and sometimes action can play the role of the information as an artistic language or a sign system . However, in the era of information in which we live today, what we mean by information art is the art that utilizes today's information technology. And because it utilizes the information technology, it is also a kind of technological art. However, information technology in the post-industrial era is unlike the technology of the past . It is high' technology that relies on Artificial Intelligence . Because of this, information art can also be called high-tech art or digital art . Introducing interactive high-tech art is one of the primary objectives of the InfoART exhibition .

s we call art that uses technology, technological art, we now . call art that uses information technology, information art . `No doubt, information technology utilizes all technologies, but it is very distinctly different from technologies of the past . Whereas the technologies of the industrial era meant the extension of physical functions, the present information technology of the post- industrial era can be represented as the extension of the functions of the brain . The expansion of the brain goes beyond technological conveniences but brings about ecological transformations which regulate the thoughts and behaviors of human beings and changes that occur in the social order due to such transformations . In this sense, the meaning and direction of information technology should be fully recognized . (Kim Hong-hee)

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e are at a crossroads . The future is now. The world has been unified via words, texts, video and three- dimensioal images . The art world has not only caught up with but also embraced modern technology. Pen, pencil, paint, canvas, wood, metal, marble, all still exist and in all probability will continue to do so for sometime in the future. Yet at the same time, artists who wield these materials will be just as likely to have a homepage as a studio : have their works digitally catalogued and in print format; and show their works in a commercial traditional gallery as well as simultaneously present it on- line in a digital gallery . Perhaps what is most reassuring for the intrepid Cybertaveler is that tradition need not be rejected when traversing habitats in the new space. Both can harmoniously coexist . In fact, it seems as if it is through this coexistence that some of the most fruitful investigations of today are being made, investigations which expand our notions of our traditional space and of Cyberspace and beyond as well .

espite the expense and the uncertainty, the global community is committed to Cybertavel . InfoART celebrates this journey and will hopefully guide today's voyager in the exploration of new and unprecedented pathways which comprise a technical "rite de passage. "(Cynthia Goodman)

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I , ow evolution leads us to the interactive media across the world - instant and inexpensive and it is about time to get together in Kwangju, Korea and think about it. . . . .What will happen in twenty years ? 2015 ? Sad fact is that I will be 83 years old . Otherwise interactive art will be fine. In one way video art will surpass herself in 1995-2015 in two-way video artivideo life.(Nam June Paik)

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excerpts trom the lntoART catalogue

- 01 1*i'.~ 14

InfoARTists and Their Works

co1 11:0 0VII AroP,17E x

Part I : Interactive in Arts and Toolmaking Curators : Nam June Paik, Cynthia Goodman

ARTIST ART WORK

e lqo iE) Stephen Beck ("EI WI3) Video Weavings (d -ISI

Jean-Louis Boissier(oE-T-o1 T21A1oi1) Flora Petrinsularis( zl llij9?I_- 21zI~)

(d~lzlolI C Benjamin Jay Britton x41o I 21E) Lescaux (21^1) Edmond Couchot (01140 *:L ) The Dandelion (10211)

Luc Courchesne ( zal) Family Portrait (71; ioFsl)

Peter d'Agostino (RI El CIiEl~) String Cycles (tee o~ nlol z)

Douglas Davis(Ee21^ r4o Id I'-`) The World's First Collaborative Sentence (A41711 yl~-I o*_ X14 ) Paul Earls (z zj',) Music in/from/of the Rainbow (EI10IX191 §0401 :F)

Scott Fisher(:Lj uIAH) & Chimerium (31x121) Perry Hoberman(A121 113J°1) Paul Garrin (z 7H?I) White Devil (sl?1 0 `1-0 1) Takahiko limura (E1501to1101T21) This is a Camera which Shoots This (01,101017 ia -1- 51I012101E1) Dieter Kiessling (GJEH Pendulum 1V (LHo TV)

Myron Krueger(o101E z74) Small Planet (xk° soi) Nam June Paik(_H_FT) Laser Installation (211o1X4 zixl)

~R Robot K789 (_q_Y E K789)

Magnet TV (X[M, TV), ~~ Paik/Abe Video Synthesizer (gH/o"IIdIG° ~h1A101X1

David Rokeby(EQI01d1 _P,_adl) Watch (R_xrRj) Buky Schwartz (*511 Video Seesaw (d IF-12 Al01 _-', 2) Jeffrey Shaw (zil=2l -) Revolution (t_io ) Christa Sommerer (a21_El °-21) & A-Volve (o11014d) Laurent Migonneau (f_oF DID) Wen-Ying Tsai (°11-0 Xlo1) Cybernetic Sculpture (°lo T ~~-,E)

Steina Vasulka (-^HI01E1 dl*311) Violin Power (d101s?I ul$l) Grahame Weinbren (2Ho 21°Id2il) Sonata KeigoYamamoto (74101101014¬) Between Sound & Sound no. 2 (2.121 --l- al A101 No. 2)

Yoo Hyun-jeong (~ oi) The Door to One's Soul (010 °_) Part II : Asian Video Installation and Korean CD-ROM Curator : Kim Hong-heel Asian Video Installation

ARTIST ART WORK

Choi Injoon{ The Green Prophet K526 (t1H-I ^Jxjx[K526) Gu Xiong ( ) Here, There, Everywhere (01)1, X171,aa1-27 ~ G011E1)

Hong Sung-min (oof°I) Man and Queen (1-1Eu411) Kim Young-jin (2.10M) Shigeko Kubota (A17411 ~-5IED Analog Garden (0Ellaoirl) Niagara Falls (1-101017121 )

Skater (_^31101 Ei )

Moon Joo (0 T) Untitled Box (010 nlkE oFZl)

95 KWANGJU BIENNALE

E11111 11511111 131111

Nam June Paik Stonehenge (,°I z)

~~ Horse Carrier(o[~[)

Park Hyun-ki (111_ t_0 I) The Blue Dinning Table (T LF ~~ ~r) Ellan Pau (.Iii u[T) Drained IV - Pledge (217.r IV- Ai -)

Wang Jian-wei ($F `IgloI) Reproduction (xd offLF)

Wang Junjieh (oF LX1al1) Chinese Secret Palace Dishes - Expo Version II (cs--~q -~~g al) Katsuhiro Yamaguchi (5?[T01-91 OkoFzl) Over the Garden No.1 and No.2 (1°J L.1oi s,' No .1, No .2)

Yuan Goang-ming (Tr°F2oFo) Fish on Dish (di^ITI-I -R271)

Na Kyung-ja(L[jz[) Video Performance (d1E1° ooi) : J AThinker(JH4ol-'_-ti[&F)

Korean CD-ROM

ARTIST ART WORK

Chang Dong-hoon (x(4-g-L) 1995-6-29 &KimMijung(,IIol-)

Choi Eun-kyung (yl°oa) Cybernetic Family (7k[oldiull. )[y)

Hong Suk-ki (I.1;11) & Stone Itself (z -I 9x221 ) Lee Jong-ho (010°)

Kim Yoon (oI °) Cyberspace & Digital Mind (A [oldioLFi[EIzlzr[][°I )

Shim Gyoojin (o~~ ~I) Dream Tree ($LR)

Part III :Whole World Video (13 curators)

ARTIST ART WORK (3P-l_ Curator : Christine van Assche II d [~hr)

Jean-Luc Godard (oE _ ,F_[z) On s'est tous de file (~[o~z01~OI Eoi~~~[) ChristianeGeoffroy(3zl_El°F~ z4[) Geo-genetic (Xlzl

Philippe Ande(von (zzl- o M _2o) Star Life (^EF°_I of ou )

PierrickSorin(ulollFIizo1) ReveiIs(4oi)

Curator : Michael Biel icky (1][01`11 z~~~1)

Michael Bielicky(o[o1z zzl571) Next Year In Jerusalem (LHLall OilT0r o1al),i ) JankaVidova-Zackova(ok7[dlld[-X[1d[) MuranskaZdychava(TLF%7Fzl~fdf)

Curator : Douglas Davis (F-e2 [L~ F110 1d l'-)

Josef Robakowski (°^J ~3_d1) My Videomasochisms (LF~I dlGl~~[i~lo)

Curator : Kathy Huffman (3H^I 0~-oI )

Vadim Koshkin (d[of ~~F_~_') Psychopathia of a Mosaic Circle (Qx[ola Aiz~l x1`1°4 )

Marina Grzinic (o [alL-[ Zz1L) & Luna 10 (zr 10) Aina Smid (0[011-[ -01-)

Curator : John Hanhardt (L LF0[zE)

Gary Hill (7H21 z) Primarily Speaking (TLi z0[~[~~ )

WoodyVasuIka4"Eld[i~7[) Art of Me mory(7101012 x11:)

Curator : Wulf Herzogenrath (9" lk _ET ^ Klaus vom Bruch (z z[T odT ) The Duracell Tape (;rz[ z EIIO I=)

Klaus vom Bruch (-EE[_: -I- odT~) & The West is Alive (tii~ zr0[°AE[) Heike-Melba Fendel (0[0141°+Id[ u4IFzl)

KIausvomBruch(ffz[T_o dTQ-) Azlmut(o$I) '95 KWANGJU BIENNALE

Curator : Barbara London _(dI-df2f ?i`1)

Peter Campus (AEj51Aui^) Three Transitions (37N°_I 11-)

BiIIViola (zdlzz1) Ancient of Days ('is-_I547-1)

The Residents (E1 811XILlx) Land of 1,000 Dances (J7 [XI $PI 29)

Dara Birnbaum Pat LHdla) Pop Pop Video, KojakAVang (91't d 1142 Laurie Anderson (F.21 alE1:) Personal Service Announcement (7H01QAidl .. o,)

Gary Hill (7H2.I zI) Site/Recite (Af01E/2IAf0IE)

Curator : Shirin Neshat (:~l?I L l^k)

Azin Valy (O[LI 924) The Blind Owl (~al To) Curator-.- Nam June Paik (.N~E[T)

Bruce Nauman(TZ~ EIT°~F) Violin Tuned D.EA.D (D.E.A.D.-0~' ~1 g5-4 d f01*?I ) Mr. Paik's Computer Mentors ?j ~Ej _ate)

Curator : Katsue Tomiyama (94011 -F,-a 100f)

Takashi Ito (E[51 fAI 01-E~-) Hide and Seek in December

JunkoWada (Ea2P) Claustromania (z^~~o~o) Osamu Nagata (QA[* 47 kF) Re-edit (W-011 ) Katsumi Aoi (91 01 0[201) Date (z~ )

Tsuyoshi Takagawa (xl2AI EH f7 M) Lydian Chromatic Concept of Tonal Org. (&M 1 011 ~+t 2-114 -°I "JIzH 7H )

Tomoko Hashimoto (R4 a ofAl I?¬) The Spirit of Journey (011g94 )

d Sieko Otobe (Molly 4E4) I Ate the Star (I-H71- a z111 °9'4Ef) F a Visual Brains (AI~~ T~-I) De-Sign b: Active Fault (71 al 44oFOi :,i-I ,1 -, ~z)

Curator : Stephen Vitiello (_`EI= d IEIOJEf ) Peter Callas (TIM tr2 f!:) Night's High Noon (g-I oi4) Eder Santos (011[118 LFE^) This Nervous Thing (01 z)

Ivar Smedstad (01d f ^_WISE[E) Pick Sel (4q ^'j)

Curator : Lori Zippay (-E~- 21 XIui101) Nam June Paik(~ ~) Videotape Study No.3 (d IGQHIOI= Joan Jonas (yoF i~F") Left Side Right Side (41 E12S-u_1)

Juan Downey (4.F -'ETu) The Looking Glass (0_1oa ) Cheryl Donegan (411%1 EL-1 `F) Craft (32.H-E ) Curator : Kim Hong-hee (7 &_A4) Cho Seung-ho "1) The Big Sleep QLa- $) Iris (0[0121-::~:) Feng Meng-bo ("g1 'Al-Y-) Taking Tiger Mountain by Strategy IP I, ( 01 ~fal `1Tof2i7 P) Kim Hyun-ok(of d) Night Open Yourself (0~0101 I-~z1)

PhillipLim(zd1 g ) Mummy was Right (0{a{L-17F~°;0{0) Oh Kyung-hwa (2?1&[) Secret (dIV')

Ellan Pau (zlall u[°-) Drained II (2jU II) Angel Velasco Shaw (0-11 ;641 zlz1~ AT) Asian Boys (0fAIOF_°I :~!:Lz) Song Dong (o o) Chinese Ink (1-1w) Container (871) Suh Kae-sock (Ai)Jl-) TV Scherzo (TV ^311 2 1~x)

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