Nam June Paik

Nam June Paik (July 20, 1932 – January 29, 2006) was a Korean artist.

He worked with a variety of media and is considered to be the founder of video art.

Born in Seoul in 1932 in present-day South Korea, the youngest of five children, Paik had two older brothers and two older sisters.

In 1950, during the Korean War, Paik and his family fled from their home in Korea, first fleeing to Hong Kong, but later moved to Japan.

Paik graduated with a BA in aesthetics from the University of Tokyo in 1956, where he wrote a thesis on the composer Arnold Schoenberg.

Paik then moved to West Germany in 1957 to study music history with composer Thrasybulos Georgiades at Munich University.

While studying in Germany, Paik met the composers Karlheinz Stockhausen and John Cage and the conceptual artists Sharon Grace, George Maciunas, Joseph Beuys, and Wolf Vostell.

Beginning with his artistic career in Germany in the 1960s—and on through his immigration to the U.S., later involvement in South Korea's art scene, and broader participation in international artistic currents—Paik's transnational path informed both his identity and his artistic practice in complex ways.

In a 1960 piano performance in Cologne, he played Chopin, threw himself on the piano and rushed into the audience, attacking Cage and pianist David Tudor by cutting their clothes with scissors and dumping shampoo on their heads.

Cage suggested Paik look into Zen Buddhism.

Though Paik was already well familiar with Buddhism from his childhood in Korea and Japan, Cage's interest in Zen philosophy compelled Paik to re-examine his own intellectual and cultural foundation.

In 1961, Paik returned to Tokyo to explore the country's advanced technologies.

While living in Japan between 1962 and 1963, 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.

From 1962, Paik was a member of the experimental art movement Fluxus.

He made his big debut in 1963 at an exhibition known as Exposition of Music-Electronic Television at the Galerie Parnass in Wuppertal in which he scattered televisions everywhere and used magnets to alter or distort their images.

During 1963 and 1964 the engineers Hideo Uchida and Shuya Abe showed Paik how to interfere with the flow of electrons in color TV sets, work that led to the Abe-Paik video synthesizer, a key element in his future TV work.

He moved to New York City in 1964 and began working with cellist Charlotte Moorman to create performance art.

Soon after, he began to incorporate televisions and video tape recorders into his work, acquiring growing fame.

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.

At the outset of his career in Europe, Paik declared, "The yellow peril! C'est moi," in a 1964 pamphlet, a reference to his Asian identity that, as the curators June Yap and Lee Soo-yon have noted, appropriates a xenophobic phrase coined by Kaiser Wilhelm II as Paik referenced his Asian identity.

In 1965, Paik acquired a Sony TCV-2010, a combination unit that contained the first consumer-market video-tape recorder CV-2000.

Paik used this VTR to record television broadcasts, frequently manipulating the qualities of the broadcast, and the magnetic tape in process.

In 1967 Sony introduced the first truly portable VTR, which featured a portable power supply and handheld camera, the Sony Portapak.

He is credited with the first use (1974) of the term "electronic super highway" to describe the future of telecommunications.

Born 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.

Curator John Hanhardt observed that certain works recall Paik's lived experience of transnational immigration from South Korea to Japan, Germany, and on the U.S.; one example is Guadalcanal Requiem (1977), which invokes "the history and memories of World War II in the Pacific."

Hanhardt has also concluded that—though "no single story" of Nam June Paik can capture the complexity of who he was and the places that shaped him—as Paik grew in public, transcultural, and global recognition, he held onto the significance of his birthplace in Korea.

Similarly, the curator Lee Sook-kyung has called identifying what is Korea, Japanese, American, or German about Nam June Paik to be a "futile" effort, yet she has observed that Paik consistently emphasized his Korean heritage and "Mongolian" lineages.

Nam June Paik then began participating in the Neo-Dada art movement, known as Fluxus, which was inspired by the composer John Cage and his use of everyday sounds and noises in his music.

From 1979 to 1996 Paik was professor at the Kunstakademie Düsseldorf.

From the mid-1980s to the mid-1990s, Paik played an integral role in Korea's art scene.

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.

After nearly 35 years of being exiled from his motherland of Korea, Paik returned to South Korea on June 22, 1984.

He opened solo exhibitions in Korea and mounted two world-wide broadcast projects for the 1986 Asia Games and the 1988 Olympics, both hosted in Seoul, and organized a number of exhibitions in Korea.

Some exhibitions coordinated by Paik introduced John Cage, Merce Cunningham, and Joseph Beuys to Korea's art scene; others brought recent developments in video art and interactivity from Europe and the U.S. to Korea, in ways that bridged similar activities in Korea's art scene.

Paik was also involved in bringing the 1993 Whitney Biennial to Seoul, as well as in founding the Gwangju Biennale and establishing the Korea Pavilion at the Venice Biennale.

A stroke in 1996 left him partially paralyzed for the last decade of his life.

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.

As he was growing up, he was trained as a classical pianist.

By virtue of his affluent background, Paik received an elite education in modern (largely Western) music through his tutors.