Nam June Paik, 1994, Living Eggs Grow, courtesy James Cohan Gallery and Art Basel 2017 A BRIEF HISTORY OF MOVING IMAGE ART: PART I In 2021, screens are ubiqitous. We carry devices in our pockets that can capture a moving image in an instant. This is a reality reflected and shared by the art world, where video and digital media are now such vital tools for artists that it can be difficult to recall the early Sixties when such formats were regarded with skepticism. As moving image art enters a new era of heightened relevance, consistently reflecting our shared experiences, one of the main inspirations for the Dream Commission, so we look back to the humble origins of the medium to see how it has evolved from experimental novelty to a futuristic mainstay of contemporary art. STAY CONNECTED THE SIXTIES 1965 NAM JUNE PAIK 'THE FATHER OF VIDEO ART' The famous story goes that the Korean-American artist founded a radical new movement after using his Sony Portapak to shoot footage of Pope Paul VI’s procession through New York which he then screened in a cafe. Paik and his fellow avant-garde artists seized upon new opportunities for documentation as affordable recording equipment entered the market. These devices opened up an enticing, unexplored territory for self-expression which could eloquently challenge mainstream culture. Like photography had done half a century before, video would dramatically change the face of contemporary art. 'Take the best that exists and make it better. When it does not exist, design it' Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery 1969 TV AS A CREATIVE MEDIUM The first major exhibition of video art mounted at Howard Wise Gallery in New York was a crucial endorsement of new artistic experiments in technology. Many of the works on show blended different art forms — performance, kinetic, sculpture — with electronics. For instance, Paik and Charlotte Moorman’s ‘TV Bra for Living Sculpture’ featured a live cellist with two screens strapped to her chest while Frank Gillette and Ira Schneider displayed a complex 'television mural' across nine monitors in their ‘Wipe Cycle’. These works would be influential in shaping the perception of moving image art as a cutting-edge, multidisciplinary medium. Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof THE SEVENTIES VIDEO AS EMPOWERMENT By 1969, 95 per cent of American homes contained a television set. Many artists — in particular female, Black, and LGBTQ+ artists — saw video as a powerful tool to question the role of the media which had come to saturate modern life. Dara Birnbaum was one such artist and employed reappropriated clips from popular shows to challenge female stereotypes reinforced by television (‘Technology/Transformation: Wonder Woman’, 1978-79). Artist Joan Jonas used glitches in analogue video to make bold political statements about spectatorship and women on camera (‘Vertical Roll’, 1972). Video as activism would also have a major impact on artists of the 1980s, one of the most famous being Isaac Julien, whose seminal film ‘Looking for Langston’ (1989) offered a sumptuous portrait of Black and gay identity. Isaac Julien, 2001, Vagabondia, Turner Prize Tate Britain London, courtesy Isaac Julien Isaac Julien, 1989, Pas de Deux 2, Looking for Langston, Courtesy of Galerie Ron MandosIsaac Julien, 2001, Vagabondia, Turner Prize, Tate Britain London, courtesy Isaac Julien Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris THE EIGHTIES DIGITAL INSPIRES CREATIVITY The introduction of digital editing software allowed artists to economically pursue new creative paths in editing on computers. In ‘Why Do Things Get In A Muddle’ (1984), American artist Nam June Paik, 1994, Living Eggs Grow, courtesy James Cohan Gallery and Art Basel 2017 A BRIEF HISTORY OF MOVING IMAGE ART: PART I In 2021, screens are ubiqitous. We carry devices in our pockets that can capture a moving image in an instant. This is a reality reflected and shared by the art world, where video and digital media are now such vital tools for artists that it can be difficult to recall the early Sixties when such formats were regarded with skepticism. As moving image art enters a new era of heightened relevance, consistently reflecting our shared experiences, one of the main inspirations for the Dream Commission, so we look back to the humble origins of the medium to see how it has evolved from experimental novelty to a futuristic mainstay of contemporary art. STAY CONNECTED THE SIXTIES 1965 NAM JUNE PAIK 'THE FATHER OF VIDEO ART' The famous story goes that the Korean-American artist founded a radical new movement after using his Sony Portapak to shoot footage of Pope Paul VI’s procession through New York which he then screened in a cafe. Paik and his fellow avant-garde artists seized upon new opportunities for documentation as affordable recording equipment entered the market. These devices opened up an enticing, unexplored territory for self-expression which could eloquently challenge mainstream culture. Like photography had done half a century before, video would dramatically change the face of contemporary art. 'Take the best that exists and make it better. When it does not exist, design it' Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery 1969 TV AS A CREATIVE MEDIUM The first major exhibition of video art mounted at Howard Wise Gallery in New York was a crucial endorsement of new artistic experiments in technology. Many of the works on show blended different art forms — performance, kinetic, sculpture — with electronics. For instance, Paik and Charlotte Moorman’s ‘TV Bra for Living Sculpture’ featured a live cellist with two screens strapped to her chest while Frank Gillette and Ira Schneider displayed a complex 'television mural' across nine monitors in their ‘Wipe Cycle’. These works would be influential in shaping the perception of moving image art as a cutting-edge, multidisciplinary medium. Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof THE SEVENTIES VIDEO AS EMPOWERMENT By 1969, 95 per cent of American homes contained a television set. Many artists — in particular female, Black, and LGBTQ+ artists — saw video as a powerful tool to question the role of the media which had come to saturate modern life. Dara Birnbaum was one such artist and employed reappropriated clips from popular shows to challenge female stereotypes reinforced by television (‘Technology/Transformation: Wonder Woman’, 1978-79). Artist Joan Jonas used glitches in analogue video to make bold political statements about spectatorship and women on camera (‘Vertical Roll’, 1972). Video as activism would also have a major impact on artists of the 1980s, one of the most famous being Isaac Julien, whose seminal film ‘Looking for Langston’ (1989) offered a sumptuous portrait of Black and gay identity. Isaac Julien, 2001, Vagabondia, Turner Prize Tate Britain London, courtesy Isaac Julien Isaac Julien, 1989, Pas de Deux 2, Looking for Langston, Courtesy of Galerie Ron MandosIsaac Julien, 2001, Vagabondia, Turner Prize, Tate Britain London, courtesy Isaac Julien Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris THE EIGHTIES DIGITAL INSPIRES CREATIVITY The introduction of digital editing software allowed artists to economically pursue new creative paths in editing on computers. In ‘Why Do Things Get In A Muddle’ (1984), American artist Nam June Paik, 1994, Living Eggs Grow, courtesy James Cohan Gallery and Art Basel 2017 A BRIEF HISTORY OF MOVING IMAGE ART: PART I In 2021, screens are ubiqitous. We carry devices in our pockets that can capture a moving image in an instant. This is a reality reflected and shared by the art world, where video and digital media are now such vital tools for artists that it can be difficult to recall the early Sixties when such formats were regarded with skepticism. As moving image art enters a new era of heightened relevance, consistently reflecting our shared experiences, one of the main inspirations for the Dream Commission, so we look back to the humble origins of the medium to see how it has evolved from experimental novelty to a futuristic mainstay of contemporary art. STAY CONNECTED THE SIXTIES 1965 NAM JUNE PAIK 'THE FATHER OF VIDEO ART' The famous story goes that the Korean-American artist founded a radical new movement after using his Sony Portapak to shoot footage of Pope Paul VI’s procession through New York which he then screened in a cafe. Paik and his fellow avant-garde artists seized upon new opportunities for documentation as affordable recording equipment entered the market. These devices opened up an enticing, unexplored territory for self-expression which could eloquently challenge mainstream culture. Like photography had done half a century before, video would dramatically change the face of contemporary art. 'Take the best that exists and make it better. When it does not exist, design it' Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery 1969 TV AS A CREATIVE MEDIUM The first major exhibition of video art mounted at Howard Wise Gallery in New York was a crucial endorsement of new artistic experiments in technology. Many of the works on show blended different art forms — performance, kinetic, sculpture — with electronics. For instance, Paik and Charlotte Moorman’s ‘TV Bra for Living Sculpture’ featured a live cellist with two screens strapped to her chest while Frank Gillette and Ira Schneider displayed a complex 'television mural' across nine monitors in their ‘Wipe Cycle’. These works would be influential in shaping the perception of moving image art as a cutting-edge, multidisciplinary medium. Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof THE SEVENTIES VIDEO AS EMPOWERMENT By 1969, 95 per cent of American homes contained a television set. Many artists — in particular female, Black, and LGBTQ+ artists — saw video as a powerful tool to question the role of the media which had come to saturate modern life. Dara Birnbaum was one such artist and employed reappropriated clips from popular shows to challenge female stereotypes reinforced by television (‘Technology/Transformation: Wonder Woman’, 1978-79). Artist Joan Jonas used glitches in analogue video to make bold political statements about spectatorship and women on camera (‘Vertical Roll’, 1972). Video as activism would also have a major impact on artists of the 1980s, one of the most famous being Isaac Julien, whose seminal film ‘Looking for Langston’ (1989) offered a sumptuous portrait of Black and gay identity. Isaac Julien, 2001, Vagabondia, Turner Prize Tate Britain London, courtesy Isaac Julien Isaac Julien, 1989, Pas de Deux 2, Looking for Langston, Courtesy of Galerie Ron MandosIsaac Julien, 2001, Vagabondia, Turner Prize, Tate Britain London, courtesy Isaac Julien Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris THE EIGHTIES DIGITAL INSPIRES CREATIVITY The introduction of digital editing software allowed artists to economically pursue new creative paths in editing on computers. In ‘Why Do Things Get In A Muddle’ (1984), American artist Nam June Paik, 1994, Living Eggs Grow, courtesy James Cohan Gallery and Art Basel 2017 A BRIEF HISTORY OF MOVING IMAGE ART: PART I In 2021, screens are ubiqitous. We carry devices in our pockets that can capture a moving image in an instant. This is a reality reflected and shared by the art world, where video and digital media are now such vital tools for artists that it can be difficult to recall the early Sixties when such formats were regarded with skepticism. As moving image art enters a new era of heightened relevance, consistently reflecting our shared experiences, one of the main inspirations for the Dream Commission, so we look back to the humble origins of the medium to see how it has evolved from experimental novelty to a futuristic mainstay of contemporary art. STAY CONNECTED THE SIXTIES 1965 NAM JUNE PAIK 'THE FATHER OF VIDEO ART' The famous story goes that the Korean-American artist founded a radical new movement after using his Sony Portapak to shoot footage of Pope Paul VI’s procession through New York which he then screened in a cafe. Paik and his fellow avant-garde artists seized upon new opportunities for documentation as affordable recording equipment entered the market. These devices opened up an enticing, unexplored territory for self-expression which could eloquently challenge mainstream culture. Like photography had done half a century before, video would dramatically change the face of contemporary art. 'Take the best that exists and make it better. When it does not exist, design it' Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery 1969 TV AS A CREATIVE MEDIUM The first major exhibition of video art mounted at Howard Wise Gallery in New York was a crucial endorsement of new artistic experiments in technology. Many of the works on show blended different art forms — performance, kinetic, sculpture — with electronics. For instance, Paik and Charlotte Moorman’s ‘TV Bra for Living Sculpture’ featured a live cellist with two screens strapped to her chest while Frank Gillette and Ira Schneider displayed a complex 'television mural' across nine monitors in their ‘Wipe Cycle’. These works would be influential in shaping the perception of moving image art as a cutting-edge, multidisciplinary medium. Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof THE SEVENTIES VIDEO AS EMPOWERMENT By 1969, 95 per cent of American homes contained a television set. Many artists — in particular female, Black, and LGBTQ+ artists — saw video as a powerful tool to question the role of the media which had come to saturate modern life. Dara Birnbaum was one such artist and employed reappropriated clips from popular shows to challenge female stereotypes reinforced by television (‘Technology/Transformation: Wonder Woman’, 1978-79). Artist Joan Jonas used glitches in analogue video to make bold political statements about spectatorship and women on camera (‘Vertical Roll’, 1972). Video as activism would also have a major impact on artists of the 1980s, one of the most famous being Isaac Julien, whose seminal film ‘Looking for Langston’ (1989) offered a sumptuous portrait of Black and gay identity. Isaac Julien, 2001, Vagabondia, Turner Prize Tate Britain London, courtesy Isaac Julien Isaac Julien, 1989, Pas de Deux 2, Looking for Langston, Courtesy of Galerie Ron MandosIsaac Julien, 2001, Vagabondia, Turner Prize, Tate Britain London, courtesy Isaac Julien Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris THE EIGHTIES DIGITAL INSPIRES CREATIVITY The introduction of digital editing software allowed artists to economically pursue new creative paths in editing on computers. In ‘Why Do Things Get In A Muddle’ (1984), American artist

우리를 움직이는 것

백남준, 1994, Living Eggs Grow, 제공: James Cohan Gallery 및 Art Basel 2017

영상 예술의 간략한 역사: 1부

2021년에는 어디서나 화면을 찾아볼 수 있습니다. 우리는 언제든 영상을 촬영할 수 있는 장치를 휴대합니다. 이것은 예술계에 반영되고, 똑같이 적용되는 현실입니다. 영상과 디지털 미디어는 예술가들에게 매우 중요한 도구로 자리매김하였고, 이러한 형식에 회의적이었던 60년대 초반을 기억에서 잊혀져 가고 있습니다.

영상 예술의 관련성이 높아지는 새로운 시대에 들어서고 Dream Commission의 주요 영감 중 하나인 인류가 공유하는 경험을 반영하게 되면서 이 매체의 소박한 탄생을 되돌아보고 어떻게 실험적인 시도에서 현대 미술의 미래지향적 주류로 거듭났는지 알아봅니다.

60년대

1965

백남준 '비디오 아트의 아버지'

한 재미교포 예술가가 Sony Portapak을 사용하여 교황 바오로 6세의 뉴욕 행진 장면을 촬영한 후 카페에서 상영한해 새로운 급진적 운동을 시작했다는 것은 유명한 이야기입니다. 백남준과 동료 아방가르드 예술가들은 저렴한 녹화 장비가 시장에 출시되면서 기록을 위한 새로운 기회를 포착했습니다. 이러한 장비의 등장은 주류 문화에 설득력 있게 도전할 수 있는 자기 표현이라는 매력적인 미개척 영역을 열었습니다. 사진이 반세기 전에 그랬던 것처럼 영상은 현대 미술의 면모를 극적으로 바꿀 것입니다.

'최고라는 한계를 뛰어넘는다. 최고가 존재하지 않는다면, 새롭게 디자인한다."

Nam June Paik, 1994, Pyramid Interactive, courtesy Kukje Gallery

백남준, 1994, Pyramid Interactive, 제공: Kukje Gallery

1969

창의적인 매체로서의 TV

 

뉴욕의 Howard Wise Gallery에 설치된 첫 대형 비디오 아트 전시회는 기술을 활용한 새로운 예술적 실험에 대한 결정적인 주춧돌이 되었습니다. 전시된 작품 중 높은 비율이 퍼포먼스, 키네틱, 조각 등 다양한 예술 형식과 전자 제품을 혼합했습니다. 예를 들어, 백남준과 Charlotte Moorman의 'TV Bra for Living Sculpture'는 살아있는 첼리스트 가슴에 두 개의 스크린을 묶은 전시를 선보였고, Frank Gillette와 Ira Schneider의 'Wipe Cycle'은 9개의 모니터에 걸쳐 복잡한 '텔레비전 벽화'를 선보였습니다. 이 작품들은 영상 예술이 최첨단의 종합 매체라는 인식을 형성하는 데 영향을 미치게 됩니다.

Frank Gillette, Ira Schneider, 1969, Wipe Cycle, Photo ZKM Center for Art and Media and Franz J. Wamhof

Frank Gillette, Ira Schneider, 1969, Wipe Cycle, 사진: ZKM Center for Art and Media 및 Franz J. Wamhof

70년대

권한 부여 수단이 된 영상

 

1969년에는 미국 가정 중 95퍼센트에 텔레비전을 보유했습니다. 많은 예술가들, 특히 여성, 흑인, LGBTQ 예술가들은 영상을 현대 일상을 장악한 미디어의 역할에 의문을 제기하는 강력한 도구로 여겼습니다. 이런 예술가 중 한 명인 Dara Birnbaum 텔레비전으로 더욱 견고해진 여성에 대한 고정관념에 도전하기 위해 인기 프로그램의 클립을 재차용했습니다('Technology/Transformation: Wonder Woman’, 1978-79). 아티스트 Joan Jonas는 아날로그 영상의 노이즈를 사용하여 관객과 카메라에 담긴 여성에 대한 대담한 정치적 발언을 했습니다('Vertical Roll', 1972). 영상은 1980년대 행동주의 예술가들에게도 큰 영향을 미쳤습니다. 가장 유명한 예술가 중 한 명인 Isaac Julien은 흑인과 동성애자의 정체성에 대한 화려한 초상화를 제공한 중요한 영화인 'Looking for Langston'(1989)를 제작했습니다.

Isaac Julien, 2001, Vagabondia, Turner Prize Tate Britain London, courtesy Isaac Julien
Isaac Julien, 1989, Pas de Deux 2, Looking for Langston, Courtesy of Galerie Ron Mandos
Isaac Julien, 2001, Vagabondia, Turner Prize, Tate Britain London, courtesy Isaac Julien
Isaac Julien, 2001, Vagabondia, Turner Prize Tate Britain London, 제공: Isaac Julien
Isaac Julien, 1989, Pas de Deux 2, Looking for Langston, 제공: Galerie Ron Mandos
Isaac Julien, 2001, Vagabondia, Turner Prize, Tate Britain London, 제공: Isaac Julie
Joan Jonas, 1972, Vertical Roll, © Joan Jonas, Courtesy the artist and Yvon Lambert New York, Paris

Joan Jonas, 1972, Vertical Roll, © Joan Jonas, 제공: 아티스트 및 Yvon Lambert New York, Paris

80년대

디지털, 창의성에 영감을 주다

 

디지털 편집 소프트웨어의 등장으로 아티스트는 컴퓨터로 영상을 편집해 더 경제적으로 새로운 창작 방법을 추구할 수 있게 되었습니다. 미국 예술가 Gary Hill은 'Why Do Things Get In A Muddle'(1984)이라는 작품에서 실험적인 편집 방식을 통해 동화 이상한 나라의 앨리스를 재해석했습니다. Hill은 혼란과 무질서라는 대본의 주제를 강조하기 위해 장면을 거꾸로 촬영한 후 편집 과정에서 다시 반전했습니다. 이는 영상과 소리를 조작해 영상 작품에서 중요한 아이디어를 어떻게 발전시킬 수 있는지에 대한 획기적인 예가 되었습니다.

Gary Hill, 1984, “Why Do Things Get in a Middle” (Come on Petunia), courtesy Gary Hill

Gary Hill, 1984, 'Why Do Things Get in a Middle' (Come on Petunia), 제공: Gary Hill

90년대

디지털의 부상

 

새로운 형태의 이미지 구성을 위한 길을 개척한 디지털 프로세스 덕분에 획기적인 시대에 새로운 세대의 아티스트가 등장합니다.

예술가들은 처음으로 영상을 컴퓨터에 다운로드하고, 디지털 이미지나 컴퓨터 생성 그래픽으로 이미지를 조작할 수 있게 되었습니다. Cory Arcangel은 설치 영상 작품인 'Super Mario Clouds'(2002)에서 인기 있는 Nintendo 게임 Super Mario Brothers를 해킹한 후 하늘과 구름을 제외한 모든 시각 및 음향 요소를 삭제하는 방법으로 추상화와 소유권의 아이디어로 바꾸는 최면을 거는 듯한 디지털 애니메이션을 만들었습니다. 그리고 Arcangel은 인터넷을 예술적 매체로 활용하는 새로운 세대의 예술가 중 한 명이었는데, 이는 1990년대부터 영상 예술의 가장 중요한 영향을 주는 혁신 중 하나였습니다.

Cory Arcangel, 2002, Super Mario Clouds, 제공: Cory Arcangel

2부 준비중

여정을 이어가다

영감을 주는 이야기에 더 깊이 빠져들어 보세요.

롤스로이스 예술 프로그램 뮤즈에서 찬사가 자자한 미디어 아티스트 Refik Anadol이 제작한 작품인 완벽한 작품: 데이터 페인팅(Art of Perfection: Data Painting)을 자랑스럽게 선보입니다.

Art of Perfection

롤스로이스 예술 프로그램 뮤즈에서 찬사가 자자한 미디어 아티스트 Refik Anadol이 제작한 작품인 완벽한 작품: 데이터 페인팅(Art of Perfection: Data Painting)을 자랑스럽게 선보입니다.

알고리즘의 미학부터 다감각 설치미술까지, 꿈의 땅으로 이동해 빠져들 준비를 하세요.

2021: 영상 예술의 해를 내다보다

알고리즘의 미학부터 다감각 설치미술까지, 꿈의 땅으로 이동해 빠져들 준비를 하세요.

수많은 동화들과 마찬가지로 몰입형 예술의 세계는 우리의 상상을 초월합니다. 관람객을 주인공으로 삼아 감각을 불 지피면 이 머나먼 땅이 현실로 다가옵니다.

Art in 360

수많은 동화들과 마찬가지로 몰입형 예술의 세계는 우리의 상상을 초월합니다. 관람객을 주인공으로 삼아 감각을 불 지피면 이 머나먼 땅이 현실로 다가옵니다.

inspiring greatness