Entering the
second floor of the Asia Society Museum to view Nam June Paik: Becoming Robot was electrifying. The “father of
video art” is an exciting, zany individual whose energy is reflected in his
art. Paik’s imaginative visions for the future during the 1960s were extraordinarily
similar to what is now reality. His idea of TV glasses then became what Google
now calls Google Glass. Paik’s
“Electronic Superhighway” was an Internet like social media for artists. In
today’s world, that might be walk we would consider Facebook or Instagram. He
valued the concept of bringing people closer together and using technology as a
medium. It made me proud and excited NYC had an exhibit about someone whose ideas
and art was way ahead of their time. Paik wanted to humanize robots and
incorporate technology used in society.
On the 3rd
floor, “Good Morning, Mr. Orwell” was screened. It had a psychedelic and sci-fi
twist to it. Orwell envisioned the TV as a tool of totalitarian control, whilst
Paik demonstrated its usefulness in hosting conversations across thousands of
miles, ultimately bringing people together and making the world smaller. It was
a satellite instillation that used his “video synthesizer” for special effects.
He wanted to use technology as a bridge between people, connecting them in ways
beyond imagination.
Nam June Paik: Becoming Robot is
highly related to film 160. Paik is known as the “father of video art.” He
experimented a lot with moving images and that unique creativity transformed
itself into provocative art. Paik also used TVs, recording equipment and moving
images in his artwork.
The form and content had mixed media (cameras/statues/TVs/sketches/participation)
to make displays about humanizing technology/robots with the use of breasts and
genitalia, in addition to defecation as the robot was designed to poop beans.
Making male and female “robots” using TVs, as well as the TV showing video
segments that made the robots “come alive.” The three-camera participation included cameras, color
filters, TV and projector. Playing around with the ideas of “live” and
“recorded” broadcasting. Without the participant, there is no art, only
equipment.
To humanize technology, he tried to make it stimulating
through nudity. K-456 is a robot with
genitalia and breasts. The Reclining
Buddha has a sculpture of the reclining Buddha laying parallel to a naked
woman in the television. There was also the Woman
playing cello with a TV bra. Paik explains, “By using TV as a bra . . . the most intimate belonging of a human being, we will
demonstrate the human use of technology, and also stimulate viewers . . . to
look for the new, imaginative and humanistic ways of using our technology.”
It was an entertaining exhibit that truly glorifies the
artist’s innovation and creativity, rightfully. The Asia Society museum
celebrates Nam June Paik and his visionary art that
opened the gate for so many others.
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