[백남준] 문화적으로 정치적으로 전 세계적에 영향을 주다

PART 3 Culture and Politics: Local and Global <백남준 문화적 정치적 예술가였다 그는 세계적으로 지역적으로 환영을 받았다. 그는 5개국 이상에서 백남준이 자기 나라 작가라고 우겨댔다> // <백남준은 참으로 카리스마 넘치는 천재였으며 독창적인 아이디어, 다국어에 대한 관용적 구사력, 협력하고 신용을 공유하려는 의지로 사람들에게 깊은 인상을 남겼다(Paik was a truly charismatic genius and made an impression on people with his original ideas, idiomatic command of multiple languages, and willingness to collaborate and share credit)> // 백남준은 혁신적인 예술 아이디어의 창작과 전시의 중심지인 로어 맨해튼에서 살면서 작업했다. 백남준은 이 뉴욕을 출발점으로 전 세계를 여행했고, 독일, 프랑스, 브라질, 멕시코, 한국, 일본, 이탈리아에서 현지 예술가처럼 인정받았다. 많은 국가와 문화에서 백남준은 그를 자기 나라의 예술가라고 주장했다. 그는 끊임없이 움직이며 다른 삶의 방식을 탐구했고, 이러한 경험은 그의 생각과 예술 제작에 영향을 미쳤다. //

Nam June Paik was an intensely political person. He understood how organizations work, which people held power, and how to effectively collaborate and bring different forces together to support his goals. His ability to draw attention to himself through his appearance, his Fluxus performances, his global connections, and his humor all played well with his modest and unassuming manner. It was a remarkable and genuine perfor-mance, out of which he established friendships with artists, powerful individuals across the art world, and patrons from the realms of educational outreach and mass media. People were attracted to his brilliance. Paik was a truly charismatic genius and made an impression on people with his original ideas, idiomatic command of multiple languages, and willingness to collaborate and share credit. These qualities afforded him multiple opportunities to marshal resources and bring people together to realize massive proj-ects, such as his global satellite pieces. He also enjoyed intense loyalty. He was loved for his indefatigable optimism, and his seemingly unrelenting work schedule did not keep him from maintaining his "downtown" appearance, friendships, and credibility. His friendship and collaboration with Charlotte Moorman was one of the most extraordinary artistic partnerships in twentieth-century art. He created performance and sculptural works specifically for Moorman, and she, in turn, performed his works tirelessly. They were both energized by their collaboration, and her arrest on changes of indecency fol-lowing their performance of Opera Sextronique greatly troubled Paik and pushed him to reflect on the artist's position and role within- and on the margins of - culture.

The selection of texts in this section attests to how Paik saw events on both a global and a local level. A local cable station or composer was as important to him as an inter-national art celebrity or popular entertainer. Paik lived and worked in lower Manhattan, a center for both the creation and exhibition of innovative art ideas. But from this starting point, Paik traveled the world over, and he was eralded in Germany, France, Brazil, Mexico, Korea, Japan, and Italy as a local artist-many countries and cultures claimed him as one of their own. He was constantly on the move, exploring other ways of life, and these experiences informed his thinking and his artmaking.

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