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During Nam June Paik"s time in Germany(1959-1963), he encompassed an extensive trend of work, from works that combined actions and music to the television works included in the exhibition entitled Exposition of Music─Electronic Television(1963). His action music works during his early days in Germany included Hommage à John Cage: Musik für Tonbänder und Klavier(1959), Etude for Pianoforte(1960), and Simple(1961) in Karlheinz Stockhausen"s Originale. These works were infamous for their especially violent and extreme actions and were described as "Enfant Terrible." This behavioristic aspect of Paik"s work is narrowly in line with avant-garde musical trends through which Stockhausen and John Cage wanted to spatialize music and adopt action for compositions in the 1950s. It is broadly in line with postwar performances that emerged from reevaluating the historical avant-garde(Dadaism) in the early 20th century and, simultaneously, resisting modernistic aesthetics.
However, Paik"s performances not only applied simple artistic doctrines but also implied the need for strong political investigations in view of prevailing memories of World War II and the Cold War. Because Paik"s performances reflected political rhetoric, they were fundamentally distinguishable from Cage"s legacy; Paik shared emotions similar to those of German artists, such as Wolf Vostell and Joseph Beuys, who had been recovering suppressed memories about Nazi Germany and the Holocaust since the late 1950s.
In the 1950s, one of the most important issues for the Frankfurt School in Germany was how to express the horrors of the past war as an art form. Herbert Marcuse and Bazon Brock, who studied under Theodor Adorno, supported performances of behaviorism and considered them artistic actions that contributed to a political purpose. Paik worked within the avant-garde circle; its members shared the same academic background as Marcuse and Brock in Cologne. In his performances, Paik displayed very aggressive behavior, as exemplified by the act of breaking down a piano in the dark, thereby creating a terrifying atmosphere that even Cage would find strange. The German audience regarded his unpredictable and destructive performances as demonstrations of political behavior in which Paik recreated violent scenes of the war. Indeed, Paik’s political inclinations were conveyed through his performances, which resembled those expressed in the student and artist movements in West Germany. Sometimes, however, his political experiences—shaped by his personal experiences growing up under Japanese Imperialism and a conservative government—were covertly embedded.
This paper is focused on Paik"s political inclinations and strategies in his early performances in Germany, breaking away from formerly unilinear descriptions that refer to Paik"s musical performances as "iconoclastic" or legacies of Cage"s musical experiments, or that position Paik"s works as pre-Fluxus. In 1963, after his monumental private exhibit Exposition of Music─Electronic Television, Paik"s identity was solidified as that of a "media artist, " and it seemed as if his works after that were completely disconnected from his earlier performances. Paik, however, compared the one-way information delivery of TV with dictatorship; these censorship and instigations by the media is inextricably linked with memories of World War II and the Cold War. As such, interpreting Paik"s performances during his time in Germany as responses to the memories of war and political dynamics of the Cold War reveals his critical theme penetrating his two artistic genres, television and performances, that seem vastly different.
However, Paik"s performances not only applied simple artistic doctrines but also implied the need for strong political investigations in view of prevailing memories of World War II and the Cold War. Because Paik"s performances reflected political rhetoric, they were fundamentally distinguishable from Cage"s legacy; Paik shared emotions similar to those of German artists, such as Wolf Vostell and Joseph Beuys, who had been recovering suppressed memories about Nazi Germany and the Holocaust since the late 1950s.
In the 1950s, one of the most important issues for the Frankfurt School in Germany was how to express the horrors of the past war as an art form. Herbert Marcuse and Bazon Brock, who studied under Theodor Adorno, supported performances of behaviorism and considered them artistic actions that contributed to a political purpose. Paik worked within the avant-garde circle; its members shared the same academic background as Marcuse and Brock in Cologne. In his performances, Paik displayed very aggressive behavior, as exemplified by the act of breaking down a piano in the dark, thereby creating a terrifying atmosphere that even Cage would find strange. The German audience regarded his unpredictable and destructive performances as demonstrations of political behavior in which Paik recreated violent scenes of the war. Indeed, Paik’s political inclinations were conveyed through his performances, which resembled those expressed in the student and artist movements in West Germany. Sometimes, however, his political experiences—shaped by his personal experiences growing up under Japanese Imperialism and a conservative government—were covertly embedded.
This paper is focused on Paik"s political inclinations and strategies in his early performances in Germany, breaking away from formerly unilinear descriptions that refer to Paik"s musical performances as "iconoclastic" or legacies of Cage"s musical experiments, or that position Paik"s works as pre-Fluxus. In 1963, after his monumental private exhibit Exposition of Music─Electronic Television, Paik"s identity was solidified as that of a "media artist, " and it seemed as if his works after that were completely disconnected from his earlier performances. Paik, however, compared the one-way information delivery of TV with dictatorship; these censorship and instigations by the media is inextricably linked with memories of World War II and the Cold War. As such, interpreting Paik"s performances during his time in Germany as responses to the memories of war and political dynamics of the Cold War reveals his critical theme penetrating his two artistic genres, television and performances, that seem vastly different.
목차
Ⅰ. 서론
Ⅱ. 백남준의 정치적 경험과 전후 서독 예술계로의 이동
Ⅲ. 독일시기 퍼포먼스(1959-1961)의 정치성
Ⅳ. 전쟁의 기억 - 초기 퍼포먼스들과《음악의 전시-전자텔레비전》(1963)의 연속성
Ⅴ. 결론
참고문헌
Abstract
참고문헌 (47)
참고문헌 신청
[학술지(정기간행물)] - 강혜경 / 2011 / 일제말기 조선방송협회를 통해 살펴본 방송통제 / 한국민족운동사연구 (69) : 305 ~ 344
[학술지(정기간행물)] - 김경미 / 2005 / 식민지교육 경험 세대의 기억 - 경기공립중학교 졸업생의 일제 파시즘 교육체제 하의 경험과 기억을 중심으로 - / 한국교육사학 27 (1) : 1 ~ 28
[단행본] - 김용옥 / 1992 / 石濤畵論 : 스타오 그림 이야기 / 통나무
[단행본] - 백남준문화재단 / 2014 / 나의 예술적 고향 : 라인란트의 백남준 / 백남준문화재단
[단행본] - 백남준아트센터 / 2009 / 백남준의 선물1 : 관점이동과 시간성 / 백남준아트센터
[학술지(정기간행물)] - 김경미 / 2005 / 식민지교육 경험 세대의 기억 - 경기공립중학교 졸업생의 일제 파시즘 교육체제 하의 경험과 기억을 중심으로 - / 한국교육사학 27 (1) : 1 ~ 28
[단행본] - 김용옥 / 1992 / 石濤畵論 : 스타오 그림 이야기 / 통나무
[단행본] - 백남준문화재단 / 2014 / 나의 예술적 고향 : 라인란트의 백남준 / 백남준문화재단
[단행본] - 백남준아트센터 / 2009 / 백남준의 선물1 : 관점이동과 시간성 / 백남준아트센터
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