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Nam June Paik Interview SCAN + Australian International Video Festival SCAN t Australian International Video Festival NAM JUNE PAIK I NTERVIEW The following interview with the New York- reason for this difference between the installa- highly regarded in non-French speaking video art . I said `electronic televi- based pioneer video artist, Nam June Paik, tions? countries, like England, like America and sion art' at that time, since I was took place during his visit to the 8th Biennale also Japan, because it's difficult to un- doing electronic music art, which was of Sydney. NJ.P. Yes, that's an interesting ques- derstand. Academic people know they have to not doing too well. tion. In both shows we used identical tapes, deal with complications . They think McLuhan So then the first show was a hit, and then the N.Z: Perhaps Icould begin byasking because we didn't have any money to re-edit is too much talked about, and is not academic second showwas a hit and the third showwas a you about your. installation at Documenta 8 them - we just copied them. However, in the enough. It's very hard to make a science out hit, so I stayed with this medium. And when I entitled: Beuys' Voice. Whatsortofthingswere Hayward show we didn't have any money t, of communications because it is changing came to this American country, it was rather you trying to do with that footage of Beuys' rent that T.V. Wall system. So we used this very fast, and in a way, it's too large. So easier to raise money in television, because performance? Were you interested in register- Documenta main channel which went into the Sydney; French - and also kind of Labour-left official television was so bad. You said, oh I'm ing it as a performance? T.V. Wall undecorated - you know, natural 10th April, British people made these kind of post- working with television, and everyone was Beuys-as one channel. The other two channels 1990 Marxist theories. For some reason semiotic throwing money at you, you know! Also, we N J.P: That's a good question. But were decorated, computerized video. So, people like to be very manneristic - they have to be written up in the newspapers and artists-generallyspeaking, you know-we don't without the T.V. Wall, the proportion of hang on to very little things. They're ba- stuff in gallery shows and museums. So you really set out to do any concrete objective. So, decorated, computerized tape became bigger. sically sort of French-based people who speculate - oh well, I did this, next I did this, in my case, when I make an artwork, we start Whereas atDocumenta, most likely, mostpeople kind of missed the bus of revolution, and next I'll do this. from a few given conditions. One condition just watched Beuys' undecorated tape, at the who want to make a rear-guard critique In the case ofso-called important visual art- was that I was invited to do a big work by centre. They didn't pay attention to the left or about it. I respect theory when it is bold ists, painters, they in a way got their style fixed Documenta. And then, we had just finished a right, which iscomputerized tape. So everything and something new. Cybernetics I respect, up by their mid-thirties- numbers, silkscreens performancewithjosephBeuysinTokyo, where most likely looked more complicated to you. because you can learn something from it. I oncanvas, dots and enlarged comics and so on. I played a piano and he- he kind of screamed. think I read one book by Foucault and then I don't say that they make compromises . But It was quite an interesting performance - he N.Z. Which version did you prefer onebook by Barthes, and one by one more guy. other artists get fixedwith styles which became liked it very much. Also, Beuys is popular in yourself? But when I study how much time I spent, I successful. Some artistschange and have twoor Germany - he's popular everywhere - but this didn't get too much out of it. So I thought three styles. Atmostyou can have three styles in piece wasforGermany! So I thought, I'm going NJ.P. I don't care! But the computer- I would keep a kind of respectful distance your lifetime. to do something with Beuys on that perform- ized version was more expensive - that's all I from it, and then I will use my time more Ofcourse, everything in video is in one style, ance . So first I tried to use multiple projectors care. productively, that is, making video-tapes but in my case, I think I changed that a little but it didn't work out so well. Then there was a and computer-tapes, and computer pro- more . Because number one, my work has not new technology available - multivision, or the N.Z. All the same, you seem very gramming. been profitable here, until three years ago. So so-called `T.V. Wall' . It's quite expensive they much committed to work with the new media, My work is rather popular in France, so I I have no reason to hang up into one style. And were renting it for ten thousand marks for and to the significance of the new media arts. asked my French friends whether they think I secon4, all the electronic industry here has three days. So I gave up for a long time . But Thisserious motivation seems tobe overlooked should spend X number of hours to study progressed very much. Think - at the time afterall, Documenta is a big opportunity to excel by some of your critics, such as the American semiotics or not, and everybody laughed, and when I was doing video, you know, itwas 1963, and you don't gettoo many offers, and then, by theorist FredricJameson, whose catalogue es- told me, you are much more advanced than before Sony had even introduced their video that time, Beuys had died, so the information say for the Boston Institute of Contemporary they are - why should you spend your time recorder. The only home video available was had become more dramatic. So, through our Arts "Utopia" show, in 1988, suggested that studying semiotics? So that is my relation to Grundwig's camera. So for the last thirty years friends, we inquired how much a couple of there was no point in expecting your installa- semiotics . If somebody has a Phd., and gets a video technology has changed. So when new companies would charge for three months in tionsto offercoherentart. He argueselsewhere teachingjob in semiotics, that'sfine! However, hardware combinations came up, either in the summer. And because in summer there are that video is a mobile medium, which may only I have no time for that! home video, or more important, in computer no trade fairs, theygave ittous for $100,000. So generate superficial, ever-changing effects. programming in industry, I have more oppor- it became more orless feasible. Documentagave Takingthis argumentone stepfurther,jameson N.Z. Going back to the notion of tunities to try out new combinations of new me $40,000 or DM40,000-I forget-and I raised likes to argue that Post-Modern culture as a content in video, would you say that you're hardware and newsoftware. Hardware-software maybe $60,000-I forget! So we did it. And that whole consists almost exclusively ofsuperficial interested in communicating some general combinations are very, very rich, almost inex- was a kind of process. Artists, generally, have effects without any special meaning. What is sort of message or content? Or are you most haustible. not profound theories, you know - we have your response to that kind of argument? interested in exploring new sorts of process? And then, obviously, I was not that bad in instincts, and then practical methods after- Orwould you say that it's a combination ofthe that application - there are other guys that are wards. The main channel was normal Beuys, NJ.P. Where did he write that? two, or perhaps something else? worse. So, for two reasons, because I did' not undecorated. And then there were two chan- make much money until three years ago, and nels, left and right, where I and Paul Garrin, N.Z . In an essay entitled'Reading NJ.P. You know, we are, as I told you, because hardware keeps changing, I keep did some computer processing. So it was really without Interpretation : postmodernism and an artist- and work with intuition - so we have, changing. Soyour question isalmostirrelevant. successful like that. It went very well. So that the video-text' in an anthology entitled The maybe, a higher rate of metabolism, so we get Art-making isfor anybody likebreathing-luckily was the inside story. Linguistics of Writing. Also in Flash An Decem- tired of it very quickly. So when in 1960 I did we don't have to go to the post-office and use ber '86/January'87, there's an interview with some sortofperformance art, itwasverynice at stamps. We are a kind of privileged class - we N .Z. I think I saw another version of him, inwhich he'sfairlydismissive aboutvideo. first. You know, I got kind of known in Fluxus don't have to work very hard. So we don't have that piece at your retrospective in London, at circles in Germany. And then I met Beuys, who to set up any objectives. the Hayward Gallery. Itseemed a more compli- NJ.P. Yes-the so-called semiotic peo- was not yet known .
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