: 154 In addition to opening solo exhibitions in Korea and mounting two world-wide broadcast projects for the 1986 Asia Games and the 1988 Olympics (both hosted in Seoul), Paik also organized a number of exhibitions in Korea. As the curator Lee Sooyon has argued, Paik became more than just an illustrious visitor to Korea, he became the leader who helped open Korea's art scene to the broader international art world. : 152 From the mid-1980s to the mid-1990s, Paik played an integral role in Korea's art scene. Īfter nearly thirty-five years of being exiled from his motherland of Korea, : 43 Paik returned to South Korea on June 22, 1984. : 20 įrom 1979 to 1996 Paik was professor at the Kunstakademie Düsseldorf. In 1964, Paik immigrated to the United States of America and began living in New York City, where he began working with classical cellist Charlotte Moorman, to combine his video, music, and performance. : 19–20įrom 1962, Paik was a member of the experimental art movement Fluxus. : 14 While living in Japan between 19, Paik first acquired a Sony Port-a-Pak, the first commercially available video recorder, perhaps by virtue of his close friendship with Nobuyuki Idei, who was an executive at (and later president of) the Sony corporation. ![]() In 1961, Paik returned to Tokyo to explore the country's advanced technologies. : 19 While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Sharon Grace as well as George Maciunas, Joseph Beuys and Wolf Vostell. Paik then moved to West Germany in 1957 to study music history with composer Thrasybulos Georgiades at Munich University. Paik graduated with a BA in aesthetics from the University of Tokyo in 1956, where he wrote a thesis on the composer Arnold Schoenberg. In 1950, during the Korean War, Paik and his family fled from their home in Korea, first fleeing to Hong Kong, but later moving to Japan. By virtue of his affluent background, Paik received an elite education in modern (largely Western) music through his tutors. As he was growing up, he was trained as a classical pianist. His father (who in 2002 was revealed to be a Chinilpa, or a Korean who collaborated with the Japanese during the latter's occupation of Korea) owned a major textile manufacturing firm. A stroke in 1996 left him partially paralyzed for the last decade of his life.īorn in Seoul in 1932 in what is now South Korea, the youngest of five children, Paik had two older brothers and two older sisters. Soon after, he began to incorporate televisions and video tape recorders into his work, acquiring growing fame. He moved to New York City in 1964 and began working with cellist Charlotte Moorman to create performance art. īorn in Seoul to a wealthy business family, Paik trained as a classical musician, spending time in Japan and West Germany, where he joined the Fluxus collective and developed a friendship with experimental composer John Cage. He is credited with the first use (1974) of the term "electronic super highway" to describe the future of telecommunications. ![]() ![]() He worked with a variety of media and is considered to be the founder of video art. Nam June Paik ( Korean: 백남준 RR: Baek Nam-jun J– January 29, 2006) was a Korean American artist.
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