[백남준] '네트워크-디지털'로 더 평등한 인류애 추구

[테이트모던 백남준 전시 도록 중] 국경이나 문화적 경계나 위계 없이 서로 얽혀 있는 세상에 대한 그의 비전은 점점 더 네트워크화(수직적 혹은 위계적 관계가 아니라 수평적이고 보다 평등한 관계로)되고 디지털로 연결되는 오늘날의 현실과 큰 공감을 불러일으키며, 그의 작품은 오늘날에도 매우 적절하게 활용되고 있다. // 백남준은 '문화를 민족주의(애국주의나 파시즘)에서 벗어나게 하고, 허영과 속물근성(스노비즘)에서 벗어나 소통하게 하고 싶다'고 말했다 //

 

 

His vision of a world intertwined without national borders or cultural hierarchies resonates strongly with our increasingly networked and digitally connected reality, making his work remarkably relevant today -Sook-Kyung Lee //

 

[...] Portapak in 1965 also profoundly affected Paik's practice, enabling him to produce moving-image footage without having to rely on film or broadcasting cameras. He created groundbreaking works that were highly technical yet with a compelling sense of the spiritual, as exemplified by TV Buddha 1974 (p.140) and Moon is the Oldest TV 1965 (above). His concept of the 'Electronic Superhighway' also emerged as a conduit of information and common values across different places and cultures that could resist hegemonies of geopolitical power, and his satellite projects manifested a vision of art enjoyed by the masses simultaneously across the world. He remarked, 'I want to place culture out of nationalism and communication out of vanity and SNOBISM'. Indeed, Paik continued to work transnationally and broadened his audiences from gallery goers to TV viewers and eventually to online surfers and smartphone users. His vision of a world intertwined without national borders or cultural hierarchies resonates strongly with our increasingly networked and digitally connected reality, making his work remarkably relevant today