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Lecture: Nam June Paik, Alternatives／The Illusion of the Fourth Industrial Revolution
Post Date 2019.11.18
Event Date _ 2019.11.27~28, 13:30~16:30
Event Price _ Free
Nam June Paik, Alternatives／The Illusion of the Fourth Industrial Revolution
Date: 2019.11.27~28, 13:30~16:30
Venue: Kuandu Museum of Fine Arts, TNUA
Lecturer: Ji Yoon Yang
Introduction
Nam June Paik, Alternatives
After Nam June Paik’s death, the Korean government attempted to brand him as the national hero for creativity. As Elizabeth Broun, the Director of the Smithsonian American Art Museum said, “If Picasso stands astride the first half of the 20th century like a colossus, Nam June Paik is the center of gravity for all that was new in the second half of that 100-year span,” the inaugural director of the Nam June Paik Art Center declared him as “the cultural icon whom we can sell for millennia.” However, Paik’s massive pagoda of TV monitors at the MMCA, The More The Better, came to a complete stop in February 2018, after a short circuit at the top of the artwork was declared a fire hazard during a safety inspection. He is heralded as a national hero, but his works have been extinguished. He once left his famous comment on himself, “Yellow peril, C'est Moi?” What could be an alternative understanding of the works of Nam June Paik?
The Illusion of the Fourth Industrial Revolution
The Korean government now advertises the Fourth Industrial Revolution as a national opportunity. The Korean media artists are commissioned to install large-scale installations under the catchphrases of the Fourth Industrial Revolution, just as the MMCA hosts a media art exhibition to announce the arrival of the Fourth Industrial Revolution. Is there really a Fourth Industrial Revolution on the way? Is the development of science and technology truly intended for a more comfortable and richer life? How could artists respond to the current phenomenon of labor and social issues that was brought on by this new development of technology?
Lecturer
Ji Yoon Yang currently works as a director of Alternative Space LOOP, Seoul and a co-director for Sound Effects Seoul. She was a chief curator of Mimesis Art Museum and a director of Corner Art Space after participating in de Appel Curatorial Programme 2008/2009. Yang participated as an editor/writer for various publications including Talking about Curating, Sound+Art, Korean Museums and Museums of the World and etc. Her interest lies in the communication with the public for new social comments through artists and works that experiment with radio, sound, performance and media art. Her curated projects include: The Revolution Will Not Be Televised (co-curator with Baruch Gottlieb, Arko Art Center, 2018), Plastic Myths (Asia Culture Center, 2016), The Shadows of the Future: 7 Video Artists from Korea (co-curator with Heiner Holtappel, Contemporary Art Museum of Bucharest, 2013), Mouth to Mouth to Mouth: Contemporary Art from Seoul (co-curator with Ana Nikitovic, Salon of Contemporary Art Museum, Belgrade, 2010)
For Registration：https://forms.gle/EpsP4UwGjtDKtqmV6
＊The lecture will be presented in English, Chinese translation will be provided
Date: 2019.11.27~28, 13:30~16:30
Venue: Kuandu Museum of Fine Arts, TNUA
Lecturer: Ji Yoon Yang
Introduction
Nam June Paik, Alternatives
After Nam June Paik’s death, the Korean government attempted to brand him as the national hero for creativity. As Elizabeth Broun, the Director of the Smithsonian American Art Museum said, “If Picasso stands astride the first half of the 20th century like a colossus, Nam June Paik is the center of gravity for all that was new in the second half of that 100-year span,” the inaugural director of the Nam June Paik Art Center declared him as “the cultural icon whom we can sell for millennia.” However, Paik’s massive pagoda of TV monitors at the MMCA, The More The Better, came to a complete stop in February 2018, after a short circuit at the top of the artwork was declared a fire hazard during a safety inspection. He is heralded as a national hero, but his works have been extinguished. He once left his famous comment on himself, “Yellow peril, C'est Moi?” What could be an alternative understanding of the works of Nam June Paik?
The Illusion of the Fourth Industrial Revolution
The Korean government now advertises the Fourth Industrial Revolution as a national opportunity. The Korean media artists are commissioned to install large-scale installations under the catchphrases of the Fourth Industrial Revolution, just as the MMCA hosts a media art exhibition to announce the arrival of the Fourth Industrial Revolution. Is there really a Fourth Industrial Revolution on the way? Is the development of science and technology truly intended for a more comfortable and richer life? How could artists respond to the current phenomenon of labor and social issues that was brought on by this new development of technology?
Lecturer
Ji Yoon Yang currently works as a director of Alternative Space LOOP, Seoul and a co-director for Sound Effects Seoul. She was a chief curator of Mimesis Art Museum and a director of Corner Art Space after participating in de Appel Curatorial Programme 2008/2009. Yang participated as an editor/writer for various publications including Talking about Curating, Sound+Art, Korean Museums and Museums of the World and etc. Her interest lies in the communication with the public for new social comments through artists and works that experiment with radio, sound, performance and media art. Her curated projects include: The Revolution Will Not Be Televised (co-curator with Baruch Gottlieb, Arko Art Center, 2018), Plastic Myths (Asia Culture Center, 2016), The Shadows of the Future: 7 Video Artists from Korea (co-curator with Heiner Holtappel, Contemporary Art Museum of Bucharest, 2013), Mouth to Mouth to Mouth: Contemporary Art from Seoul (co-curator with Ana Nikitovic, Salon of Contemporary Art Museum, Belgrade, 2010)
For Registration：https://forms.gle/EpsP4UwGjtDKtqmV6
＊The lecture will be presented in English, Chinese translation will be provided
Nam June Paik, Alternatives／The Illusion of the Fourth Industrial Revolution
Date: 2019.11.27~28, 13:30~16:30
Venue: Kuandu Museum of Fine Arts, TNUA
Lecturer: Ji Yoon Yang
Introduction
Nam June Paik, Alternatives
After Nam June Paik’s death, the Korean government attempted to brand him as the national hero for creativity. As Elizabeth Broun, the Director of the Smithsonian American Art Museum said, “If Picasso stands astride the first half of the 20th century like a colossus, Nam June Paik is the center of gravity for all that was new in the second half of that 100-year span,” the inaugural director of the Nam June Paik Art Center declared him as “the cultural icon whom we can sell for millennia.” However, Paik’s massive pagoda of TV monitors at the MMCA, The More The Better, came to a complete stop in February 2018, after a short circuit at the top of the artwork was declared a fire hazard during a safety inspection. He is heralded as a national hero, but his works have been extinguished. He once left his famous comment on himself, “Yellow peril, C'est Moi?” What could be an alternative understanding of the works of Nam June Paik?
The Illusion of the Fourth Industrial Revolution
The Korean government now advertises the Fourth Industrial Revolution as a national opportunity. The Korean media artists are commissioned to install large-scale installations under the catchphrases of the Fourth Industrial Revolution, just as the MMCA hosts a media art exhibition to announce the arrival of the Fourth Industrial Revolution. Is there really a Fourth Industrial Revolution on the way? Is the development of science and technology truly intended for a more comfortable and richer life? How could artists respond to the current phenomenon of labor and social issues that was brought on by this new development of technology?
Lecturer
Ji Yoon Yang currently works as a director of Alternative Space LOOP, Seoul and a co-director for Sound Effects Seoul. She was a chief curator of Mimesis Art Museum and a director of Corner Art Space after participating in de Appel Curatorial Programme 2008/2009. Yang participated as an editor/writer for various publications including Talking about Curating, Sound+Art, Korean Museums and Museums of the World and etc. Her interest lies in the communication with the public for new social comments through artists and works that experiment with radio, sound, performance and media art. Her curated projects include: The Revolution Will Not Be Televised (co-curator with Baruch Gottlieb, Arko Art Center, 2018), Plastic Myths (Asia Culture Center, 2016), The Shadows of the Future: 7 Video Artists from Korea (co-curator with Heiner Holtappel, Contemporary Art Museum of Bucharest, 2013), Mouth to Mouth to Mouth: Contemporary Art from Seoul (co-curator with Ana Nikitovic, Salon of Contemporary Art Museum, Belgrade, 2010)
For Registration：https://forms.gle/EpsP4UwGjtDKtqmV6
＊The lecture will be presented in English, Chinese translation will be provided
Date: 2019.11.27~28, 13:30~16:30
Venue: Kuandu Museum of Fine Arts, TNUA
Lecturer: Ji Yoon Yang
Introduction
Nam June Paik, Alternatives
After Nam June Paik’s death, the Korean government attempted to brand him as the national hero for creativity. As Elizabeth Broun, the Director of the Smithsonian American Art Museum said, “If Picasso stands astride the first half of the 20th century like a colossus, Nam June Paik is the center of gravity for all that was new in the second half of that 100-year span,” the inaugural director of the Nam June Paik Art Center declared him as “the cultural icon whom we can sell for millennia.” However, Paik’s massive pagoda of TV monitors at the MMCA, The More The Better, came to a complete stop in February 2018, after a short circuit at the top of the artwork was declared a fire hazard during a safety inspection. He is heralded as a national hero, but his works have been extinguished. He once left his famous comment on himself, “Yellow peril, C'est Moi?” What could be an alternative understanding of the works of Nam June Paik?
The Illusion of the Fourth Industrial Revolution
The Korean government now advertises the Fourth Industrial Revolution as a national opportunity. The Korean media artists are commissioned to install large-scale installations under the catchphrases of the Fourth Industrial Revolution, just as the MMCA hosts a media art exhibition to announce the arrival of the Fourth Industrial Revolution. Is there really a Fourth Industrial Revolution on the way? Is the development of science and technology truly intended for a more comfortable and richer life? How could artists respond to the current phenomenon of labor and social issues that was brought on by this new development of technology?
Lecturer
Ji Yoon Yang currently works as a director of Alternative Space LOOP, Seoul and a co-director for Sound Effects Seoul. She was a chief curator of Mimesis Art Museum and a director of Corner Art Space after participating in de Appel Curatorial Programme 2008/2009. Yang participated as an editor/writer for various publications including Talking about Curating, Sound+Art, Korean Museums and Museums of the World and etc. Her interest lies in the communication with the public for new social comments through artists and works that experiment with radio, sound, performance and media art. Her curated projects include: The Revolution Will Not Be Televised (co-curator with Baruch Gottlieb, Arko Art Center, 2018), Plastic Myths (Asia Culture Center, 2016), The Shadows of the Future: 7 Video Artists from Korea (co-curator with Heiner Holtappel, Contemporary Art Museum of Bucharest, 2013), Mouth to Mouth to Mouth: Contemporary Art from Seoul (co-curator with Ana Nikitovic, Salon of Contemporary Art Museum, Belgrade, 2010)
For Registration：https://forms.gle/EpsP4UwGjtDKtqmV6
＊The lecture will be presented in English, Chinese translation will be provided
