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Good Morning Mr. Orwell 2014
Period/ 2014.07.17(Thu) ~ 2014.11.16(Sun)
Venue/ 1F, 2F Nam June Paik Art Center
The satellite’s amplification of the freedom of the strong
must be accompanied by the protection of the culture
of the weak or by the creation of a diverse software skillfully
bringing to life the qualitative differences in various cultures.
– Nam June Paik, Art & Satellite (1984)

In 1949, George Orwell published a dystopian novel 1984 depicting a dark future in which surveillance and control by tele-communication become a routine, and made a pessimistic prediction that humans will be controlled by mass media in 1984.

As a refutation of Orwell’s prediction, Nam June Paik said, “You were only half right” and directed the satellite TV show Good Morning, Mr. Orwell to show the positive utilization of mass media by means of art. On January 1, 1984, Paik linked New York and Paris live via satellite in collaboration with around 30 teams, 100 artists and 4 broadcasters and aired music, fine arts, performance, fashion show and comedy that cross the borderline between popular and avantgarde art in real time. Above all, these various genres of arts were edited and displayed on one TV screen. This show was broadcast live in New York, Paris, Berlin, Seoul, etc. and is estimated to have been watched by over 25 million TV viewers.

Now, the year 2014, is the time to look into the eyes of ourselves seeing this positive festival in commemoration of the 30th anniversary of Good Morning, Mr. Orwell. Today’s global networking system using the internet beyond satellite makes both stronger controls and broadened freedom possible. This exhibition is intended to ask about the possibility of making a new node and link to change this network as well as to pose a question of control/freedom that becomes more complicated and secret day by day.

Artists
Lorenzo Bianda, Sompot Chidgasornpongse, Exonemo, Harun Farocki, Finger Pointing Worker, Paul Garrin, Mona Hatoum, Okin Collective, William Kentridge, Taiyun Kim & Ji Hyun Yoon, Lee Boorok, Liz Magic Laser, Jill Magid, Bjørn Melhus, Nam June Paik, Remove Architecture, Sanghee Song
Opening
Thursday, 17 July 2014, 5pm
Opening Performance
  • Exonemo, DesktopBAM
  • Taiyun Kim& Ji Hyun Yoon, Hello, World!
  • Pauline Oliveros, Rock Piece, King Kong Sing Along Simultaneously
Free Shuttle Bus for Opening
  • Thursday, 17 July 2014
    – 15:15 Hapjeong Subway Station (Exit #2)
    – 16:00 Hannam-dong across from Hannam
  • The Hill (the former site of Dankook Univ.)
    For free shuttle bus reservation, please email to
    reservation@njpartcenter.kr
Opening Hours
  • 10am—7pm
  • Closed on every 2nd & 4th Monday of the month
Artists and Works
조지 오웰 아카이브
George Orwell Archives
Space Design_Remove Architecture
리무부 아키텍쳐, 《싸이놉티콘》, 2014, 조명, 가변크기
Remove Architecture, Psynopticon, 2014, lighting, dimensions variable
In the Panopticon, which is devised as a model prison allowing a person to observe many people, the most important factor is the ‘psychology’ of a person to be observed. Under the condition of not being able to see the observer, the anxiety that one is being watched by the observer and self regulation become the most effective means of control. This principle of Panopticon is also easily found in our daily life. The artist makes a pattern of Panopticon by using something visible and invisible, and light and shadow. Viewers entering this pattern created by the repetition of the forms of ordinary objects in the form of concentric circle become observers and those being observed at the same time before they know it.
핑거 포인팅 워커, 《후쿠이치 라이브 캠을 가리키다》, 2011, 1채널 비디오, 컬러, 사운드, 24분 50초, 비디오 : 도쿄 전력(주), 편집 : 코타 타케우치
Finger Pointing Worker, Pointing at Fukuichi Live Cam, 2011, 1 channel video, color, sound, 24min 50sec video : Tokyo Electric Power Co. editor : Kota Takeuchi
This video work by ‘Finger Pointing Worker’, an unidentified artist, is a recording of the video images from ‘Fukuichi Live Camera’ installed by Tokyo Electric Power Company to show the sites in real time through the internet at the time of the Fukushima earthquake. The artist went to the site and made a parody gesture of Centers, a representative piece of narcissism by Vito Acconci, in front of the camera transmitting live via internet, wearing the uniform of the nuclear power plant workers. And another artist Kota Takeuchi filmed this scene. By showing aggressive and narcissistic gestures, the artist criticizes the ones who do not realize a critical situation and the situations where the workers are not informed of the danger of the nuclear power plant and their sacrifices are heroized.
Paul Garrin, Free Society, 1988, 1 channel video, color, sound, 4min
       Man with a Video Camera, 1988, 1 channel video, color, sound, 6min 3sec
       Reverse Big Brother, 1990, 1 channel video, color, sound, 1min

Video artist Paul Garrin, who also worked closely with Nam June Paik for many of Paik’s pieces as a collaborator, has proved the diversity of video synthesizing, as well as the power of recording and reporting that home video camera has. The artist shot the scenes of riots and the irrationality of the society with his home video camera, and his tape with footage of violent police suppression and willful actions against photographing was broadcast on television and caused quite a stir.
모나 하툼, 《너무나 말하고 싶다》, 1983, 1채널 비디오, 흑백, 사운드, 5분
Mona Hatoum, So Much I Want to Say, 1983, 1 channel video, b&w, sound, 5min
A man stops the mouth of the artist, who tries to say something, with his hands. Although the video is slow and keeps cutting out, one can continuously hear the voice repeating the title. In this video, performance is recorded utilizing the ‘slow scan’ technique and the images are transmitted to other places via satellite. With the slow scan technology, images are transmitted every 8 seconds, but the sound is transmitted through the telephone lines uninterruptedly. Using the technology to transmit both discontinuous images and continuous sounds to a distant place, the artist shows the energy of resistance to constantly transmit the voice even in the suppressed and limited situations.ir.
이부록,《워바타 스티커 프로젝트》, 2005-2014, 비닐 스티커에 프린트, 300×450cm, 120×480cm
Lee Boorok, Warvata_Sticker Project, 2005~2014, print on vinyl sticker, 300 x 450cm, 120 x 480cm
Warvata, a compound word of ‘War’ and ‘Avatar’, is composed of pictograms, a pictorial symbol which is easy and clear to recognize for everyone. Since 2005, the artist has worked on the sticker project: he produced Warvata’s pictograms in sticker, distributed or mailed them to people, and then had people put the stickers on the existing signs or images, take a picture of it, and send them back to the artist. The scenes in which war, an extreme tragedy, becomes a common thing that everybody can recognize and it travels all over the world in the form of sticker, which is a capitalistic method of communication to be copied on a large scale, make people feel horrified from the daily routine. However, the process that the images are created by putting the Warvata stickers on a certain space and they come back to the artist one by one proves a sparkling satire and the power of participation.
Okin Collective, Seoul Decadence, 2013, 1 channel video, color, sound, 48min
Actors_ Hanchang Lim, Jung-geun Park

The court ruled that P violated the National Security Law by retwitting the news about North Korea. However, the statements of the three parties — the court, P and people around P — were completely different from one another. With a doubt that the reason why P’s intention had not been deliver
Sompot Chidgasornponse, Diseases and a Hundred Year Period, 2008, 1 channel video, color, sound, 20min
Movie director as well as video artist Sompot Chidgasornponse, who also has worked wit