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PAIK TV. Homage to a Visionary Mongol

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PAIK TV. Homage to a Visionary Mongol PAIK TV. Homage to a visionary Mongol Extraido de ZEMOS98 http://www.zemos98.org PAIK TV. Homage to a visionary Mongol - English - Publicado el Domingo 10 de septiembre de 2006 ZEMOS98 Creative Commons BY 2.5 EspañaZEMOS98 Página 1/8 PAIK TV. Homage to a visionary Mongol As I start writing I also ask myself why I became interested in video. It was because of Nam June Paik. Because I didnt understand the mockery, the nonsense, all that DIY electronic junk... that was art? Paik just seemed to me like an overgrown child who invented toys that got stranger and stranger: a robot that walks, talks and shits peach stones... come on, thats not serious! However, I could sense a core of genius in him that I finally understood better when I studied Fluxus. This text is a homage to the person who turned my bewilderment into a vocation. 1. TV in Fluxus. The representative approaches of Paik and Vostell Nam June Paik has gone down in history as a pioneer in the use of television to make art. Fellow Fluxus member Wolf Vostell was the first to use an operating television set in his 1958 piece The German View, but Paik was the first artist who thought of recording a video tape and showing it in public as an artistic act. The legendary story goes like this: Using money from a Rockerfeller Foundation grant, he bought one of the first Portapacks (2) sold in the US. One day, on his way home from the music store Liberty, the taxi he was riding in crossed path with the procession of Pope Paul VI on his visit to New York. Paik recorded the Popes arrival from the back seat of the taxi, and that same night he exhibited the images under the title Electronic Video Recorder. This was October 4th, 1965, at the Go-Go Cafe in New York, during the Moon Night Letters evenings organised by Fluxus in Cabaret Voltaire style. After a few years of discussions, the critic Jean-Paul Fargier settled the old debate about who would have the honour of being recognised as the pioneer with a decision worthy of Solomon: Paik was first with the video recorder and Vostell the first to use television". (3) Counter-television criticism. The TV as an object. The medium is the message (4). This famous aphorism began to circulate through Marshall McLuhans Understanding Media (1964), a book that had a strong influence on the counterculture and art worlds of the 60s and 70s, and specially on video artists working in those decades. The most common response of artists and activists was confrontation, demonstrating their opposition to the medium through an anti-television critique and violent actions against the television apparatus. The first anti-television reactions took the form of a happening carried out by Wolf Vostell, who demonstrated a combative spirit in relation to television. At the Yam Festival held in New Vrunswick (USA) in May 1963, Vostell wrapped a television set in barbed wire and buried it "alive" while it continued showing its programs. In September of that year, he led visitors to the Parnass gallery in Wuppertal (Germany) to a quarry where they could see a television set, switched on, in the distance. He then picked up a rifle and destroyed it with one shot: it was the first execution of the medium. Like many other artists, the Korean Nam June Paik found an important point of reference in McLuhans theories, and his work also showed a certain aggressiveness at the start, although it wasn't long before there was a change. His wife Shigeko Kubota explains - in the Fluxus way - the transition from Paik's initial destructive stage to another that was much more creative: When I met Nam June Paik he wasn't a video artist, but a musician: He became a video artist in the seventies. When I met him he was a composer. He would break pianos, and after breaking pianos he began to break television sets. Later he asked himself why he was breaking pianos and television sets if he could achieve more beauty by using them to create objects. Thats why he began to make sculptures and use televisions as sculptural material (5). The new stance adopted by Paik does away with violent actions, but it is still critical of television by adopting an ironic and provocative point of view: Our job is a critique of pure television, like Kant" (6). This attitude becomes clearer in the video cultures that question the TV as a piece of furniture and criticise the passivity of viewers seated before it. Among the many pieces that refer to everyday objects TV Clock (1965), TV Glasses (1971), TV Bed (1972), TV Garden (1974), Video Fish (1975), TV Candle (1975) - TV Chair (1968) stands out for its irony. The piece consists of a chair with a television in the place where the seat should be, so that Creative Commons BY 2.5 EspañaZEMOS98 Página 2/8 PAIK TV. Homage to a visionary Mongol whenever somebody sits on it he covers the screen with this own backside. Over the chair, a closed circuit camera hangs from the ceiling transmitting an overhead image of the subject to the screen. In Paiks artistic trajectory, there are two fundamental traits that stand out from the others, and these are undoubtedly curiosity and a sense of humour. One of the most representative works from this period is Buddha TV (1974), consisting of a sculpture of Buddha placed in front of a television set and a camera that records it in a closed circuit. The artist sets up a confrontation between two different cultures, and between meditation and technology. The Buddha contemplating his image on the TV would later appear in various versions over the years: sometimes with the face of Paik himself, and others replaced by Rodins The Thinker - TV Thinker -. In 1976 he even recreates Triangle (7) based on Buddha, the Thinker and himself, in order to make Eastern meditation and Western introspection converge, with television as the mediator. In 1960 he created a performance for Charlotte Mooman, in which she stands in front of the audience prepared to play the cello dressed in a strange bra made up of two mini-TV setsl To justify this work, called TV Bra, Paik made a Fluxus declaration that summarises his idea of video art: By using television as a bra, as the most intimate belonging of a human being, we show the human use of technology and also stimulate the fantasy of viewers to find new, imaginative and humanist forms of using technology" (8). In the eighties, Paik made object-based pieces that were fully integrated into the art market, in response to the many commissions he received from museums and galleries all over the world. The most representative works of this stage were the robot series he created during this and the following decade. They all follow the same pattern: the body is made up of old wooden television and radio sets with television screens that transmitted the vertiginous images of his videos. In 1989, after the great Robot Family (1986), he created various pieces around 3 metres high, representing David, Voltaire, Diderot, Danton, Robespierre, Marat and Olimpia de Gouges. These gigantic robots were exhibited under the title La Fee Electronique in the Musée d'Art Moderne de la Ville de Paris, as part of the ceremonies to celebrate the bicentenary of the French revolution. The best-known pieces include representations of famous people and friends: Digital Merce (1988), Cage (1990), Charlotte Moorman Robot (1991), Karen Blixen Robot (1996), Hamlet Robot (1996)... While Paiks attitude fits right into the most sardonic and provocative line of Fluxus, Vostell picked up the thread of Dada's nihilist vocation in the strictest sense; that is, if we can say that Vostell always was Fluxus because of his radical commitment, we have to agree that Paik always was Fluxus because of his playful conception of art. But there are other notable differences in the way each of them used television sets and electronic images. Vostells interest in television focuses on the apparatus, the object, what it represents and the ritual. He uses a television set as just another element in his repertoire of materials, and gives it a new meaning in his happenings. On the other hand, he doesnt create images, but always uses the images transmitted by the television at the moment of the intervention, keeps the TV turned off, or leaves it with white noise. When Paik uses a TV set, he doesnt aim to damage or destroy it, if anything, he makes fun of it. Paik starts up an open duel against television, in an attitude that has been classified as a constructive vision of the medium in contrast with Vostells negative acidity. Fargier uses the different predispositions of these two pioneers to identify two quite different attitudes in artists who work with video: on one hand there is an inventive or positive attitude that tries to develop a creativity that TV was unable to reproduce, and on the other confrontation with TV or a negative attitude. Both options were present simultaneously, represented by the opening gestures of Paik and Vostell. All artists who, following Paik and Vostell, used television sets as a tool, fitted into one or another of these two tendencies claims Fargier - Antonio Muntadas, Francesc Torres, Klaus vom Bruch and Dara Birbaum, for example, continue to hammer Vostells nail. Bill Viola, Gary Hill, Shigeko Kubota, Thierry Kuntzel, Jean-Michel Gautreau, Ko Nakajima..
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