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

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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- 1 000 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 . W . Lio A ~D~l~ ~0~~21 zorl[ ]IslO olToiAA°°-oi LHo° 3- 1 3 -~ z111T °IEJOHEId 011*11 [ F HR[o ;11- ~ Lixl21 [012[01 x1 T~ oTT~~uEize sFgo~zo olEi o,Eld o[olE~l3 o[Ez Lin1`FC[ . ~o~~~[ `1x10[ °H21 o , 2]Io l of °-X 250-121 Ar71z ^iois[°~CF . X112 'o[xlo[ HIG2 & zEI°IGW DjI*'fxi, 1T alEi~E1d 1101 zl0M oho xF7l=zall Xil_FoCAiol ~~ilxaog L1xis1 dfol 2d dl~oFw--E-90--E-90o ~ -_FLICf . 2 C[nl 'o[xlo[ dlEl2 zixl~l 'l[ 'U-°°l CD-ROM' 0 51 -=~ILdI, ola°I-I ,failolololl -IaH 7171 13°121 HIClo 'xlO1l9)[2[ 5°I21 AJ~Ej oil 7 z A `i zFof ACF. x113 'LUih11-I dIG°'~ UIG2E1101= o-gojl*z izH~IL dIEI2H101 =,PodolE[ ^EI-~ dlElz _OilF -I~H ~01 Lid[ Aih11 ~' 12°1-I UIG2D1l 420-1 1-47[2l dIG2Hl0l- 0[x10[21 d1C1a o'o[Djl*z ^1yol- --dFToil - 010°17[ Cioi_F 90_121 o[Alo[ P[ 2r2 oroi ~fE[ Edmond Couchot The Dandelion 011R-v6- ~A <U2541> ' 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) b O_YoJl "L-I TlzlL 'oJEd.HE1u , o[E, a o~l~l[ ~F~HLF°-I o"~T~E~1 ioz 71o~i1~~ EHs[o o~l~°-I o"doll °,'~EF 'zzl` o"TI~ ¢L oFz2iT. ^[z'01z[`/.I 7C0___11o Al-11,T1 01111 __o[Xi = 111_Y_011 *°L EHQFoolo1 ok_EF. 011`1 0foll^i QL 011*° _moll*0lz[__D_ T °,,C[. Li, AxH, tJEH f1HEL 9T17[ 011:9°10i, ir- 0-FLF2I 71-a"117I1E^i oi_Y_21 oafs T8A_[71 rrH`o1C[ . =P-IL[ Tz17[ zF7 °1.~ 01 4[^1EH21 °moll ° -xdl~i°oE o1~71 z zFo° ~l1' z z°FC[. 71* - zFo°FC[L 2101011^i oi~Oll ° 01 -1 Edl3z5~1 o1Ig01E[ . aP-IL-[ T71tldn111Hs1 oiY_71*° 01`121 71*2- C[z)il °IoXloo ENV' Toll-IL-[2 ne`o 0-FolEllaz --i,-,k[ofE[ . ~2d_f );[poll o~olla° _Er o[01E]I3 o[E ` EIzIzF 0[Ez[L d['~01 zz T °; Edl, 71°Fdl^d = ;0 I IEi°;E1d`F 1 oil LizF21 71oz [^14[~I` o[o1Ed13 o[E' ::11~7Ho~ X 01 olds Li-I UXI-1 °I ~~1olE[ 71 z 01o2t 011*z HI3-E^I 0[Ez[2 -2,1101, 01X11 -al- 11~71 z 01g~F 011~z o1 _oll*0lz[2 C[ ~S oi~71 ~ 71*01011` zo1°Azl°F ~F^I off+`F°21 LF~71 012[2oE Tz7loll` L[71-1 71 L[` ~- 21 ~f ^[010101 OIC[. [7d-I 71 , '~I `f°~1^I0H-I 71 01 CIz~l71o-1 sFCHz 2101`FC[°~, o-I ^ of~71 ° T~I_Io sH9 2101ofC[ . T~i21 s4xFL°° FLo1c 71~~7d 0171' yc zJ-0[0i i [4- °ILF-I ^[l2[ oEHz 10101` ^oEH F- dt4[2[ 2011 ^[sli z'^d°-I dt4[z ~E2Ho1-L_- ?.i01 0i, olzdot OHaF0IIXj o1Y_71~921 21014[ ~a gTI' °I110k z 101E[ (o'o°I) 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) '~' z1L 2FN-4011 MBE. o12H7F 0171011 01F_E. zXfQf Ell^EQf dIG24f 3Xf~J XI ololzlz o~FoH MI-F01 ~F~f7F ¬ICE. ~I 7il~ ~N" I - , L rT M0N71*a1 oH.~L_I~Lzm_ oA I"JI _a, ..'o_FCfu{li ~iz, MF, 1 o" oFO r' 1 1:0 ,1101 OFD ~xHoF~ zo1LE° ~xH 7,4014 . a214 0121 XH~zaz ~oz~ TT-~ xF7~~ ~F°'z'~ Aull0l~lz 'oiV 7,1011.4. 001 YA 0141011 uXIz1 ~f z rah 7JOJC.F. rE-F 71LS1 sFo~oll~isf oE~F7Fzl~ saE°I 1X11 El 171 foFOlhJE. LJ^Ia t[ ,,1011f . 1HoFLf nFolai ~zfz° 7H~~ o?E-I T°l01 5 TlJo1 iioz 71T zPJf 0Aaxla 5zz1f. aT7f iQId71l o~ T 7 F o2[ 7H'-o4 MzHl-l»F z'~ zz'M~ °~~-, io~H°I :! : ,~H~` 04Z opH nfolei -1-A101 7&4 z -MI ~zo~ 0l ~~I oLZ o1Toixl21 M1f. , d1LE :gdlQf al~ -r 0fL zl~- ° Afolaioia AI~.sfli °,,1E. " oi1011VL1- 0121-f Ogz fo0-L doll- W1z T 1A~~i 1H~R z', 71~~i AP ~ i °off-I Xil z ooF= nH :&121 7H;~al °zz-I oioz z °1.~ T °~71z 7141~f1F . (CI^lOF oN) 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) xil ~I-I zLi° Tzlz xlo 'oIEJOIElti olG01'°I MI)iM ~Lf111 012 dlnAlzlI-- -FIR a. 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