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Nam June Paik, TV-Buddha, 1974. Collection Stedelijk Museum Amsterdam. Photo: Stedelijk Museum Amsterdam. Nam June Paik, TV Garden, 1974-1977 (2002). Kunstsammlung Nordrhein-Westfalen, Düsseldorf © Estate of Nam June Paik Nam June Paik, TV Garden, 1974-1977 (2002). Kunstsammlung Nordrhein-Westfalen, Düsseldorf © Estate of Nam June Paik

Nam June Paik, TV-Buddha, 1974. Collection Stedelijk Museum Amsterdam. Photo: Stedelijk Museum Amsterdam. Nam June Paik, TV Garden, 1974-1977 (2002). Kunstsammlung Nordrhein-Westfalen, Düsseldorf © Estate of Nam June Paik Nam June Paik, TV Garden, 1974-1977 (2002). Kunstsammlung Nordrhein-Westfalen, Düsseldorf © Estate of Nam June Paik

Amsterdam: Nam June Paik. The Future is Now

https://www.stedelijk.nl/en/exhibitions/nam-june-paik


14.03.2020 - 23.08.2020
Stedelijk Museum Museumplein 10 1071 DJ Amsterdam
In collaboration with Tate Modern and San Francisco Museum of Modern Art, the Stedelijk Museum presents a major retrospective of Nam June Paik, one of the most visionary and influential pioneers of early video art. Paik’s multidisciplinary, radical, experimental and playful work continues to inspire a new generation of artist.

Born in South Korea, Nam June Paik (1932, Korea-USA, 2006) grew up in Japan, studied music in Germany and collaborated in Fluxus, an international network of avant-garde artists. Paik predicted the power of mass media to shape our lives and introduced the term “electronic superhighway” to foretell the future of communication in an internet age. Paik erased the boundaries between art and technology, between East and West, and investigated technology’s impact on globalization and everyday life.

The Stedelijk’s relationship with Nam June Paik dates back to 1977 when the museum mounted his first major show in the Netherlands. In 1984 Paik also took part in The Luminous Image, an international exhibition of contemporary video art, with the video installation Homage to Stanley Brouwn (1984). An iconic installation from the Stedelijk collection is TV-Buddha (1974), in which an 18th-century wooden Buddha appears to ‘watch’ itself on a modern television, and typifies the influence of (Zen) Buddhist philosophies on Paik’s approach to art and technology.

Eingetragen am: Mittwoch, 18.12.2019


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