TV 정원 글: Andrea Nitshche-Krupp(SFMOMA Assistant Curator) 테이트 모던 전시 글
TV 정원은 이미 백남준의 손을 떠나다. 큐레이터의 창의성에 따라 수백가지 수천가지가 나올 수 있다.
백남준의 TV Garden(1974)은 기계문명 속 해독제가 되다.
In the early 1970s Nam June Paik applied for a fellowship from the Rockefeller Foundation with the proposal 'to destroy national television.
With that grant-the Rockefeller Foundation cunningly took the bait-Paik produced his monumental video Global Groove 1973 with John Godfrey of TV Lab at WNET/Thirteen, New York.
'National television' had two would-be fatal flaws for Paik at that time: it was far too nationalistic and far too passive.? TV Garden 1974 might be considered Paik's antidote: a jubilant installation incorporating Global Groove and a dense jungle of tropical plants, which is international in scope and both prompts and rewards an engaged viewer.
TV Garden is all-encompassing in practically every sense.
To enter TV Garden is to be surrounded by a density of foliage, blaring audio (Paik preferred it loud), the delicate smell of plants and soil, and the 'Moonlight Sonata' 1801 plays over video of electric light flickering from each of the a modern dance rendered abstract by Paik's forty-plus television monitors nestled among video manipulations.
Paik's voice comes the glossy leaves. The list of cultures and through calm and inviting, 'Close your eyes. continents traversed in the video is too long to recount. Think: 'Devil with a Blue Dress On', to a Japanese Pepsi commercial, to a Nigerian dance troupe, to Karlheinz Stockhausen's Kontakte, to nude dancing, to Nixon, to the Andrews Sisters.
Add to that list TV Garden's sites over the years (São Paolo, Brazil; monitors, all of this enters the work. Indeed, Wellington, New Zealand, New York, USA; for Paik, art could even should-embrace Yongin, South Korea, Düsseldorf, Germany, the fullness of the world.
In a 1972 text on the etc.) and Paik's campaign against hermetic a purview of the artist, he cited four good old Baudelaire' as an example of this objective: nationalism comes into view.
The constructed garden environment calls our attention to the immersive qualities of the work, but also underscores TV Garden's contingency.
Plants need tending. While so do CRT monitors, the incongruity of plants in a gallery space make us unusually aware of the people that brought them, arranged them and, we hope, keep them alive.
The installation as a whole has always been contingent. Paik installed the first version at Galeria Bonino in 1974.
Although he had to forgo plants due to a lack of resourses, that initial exhibition of TV Garden was the artist's first large-scale media installation.
Subsequent iterations likewise depended upon space and resources and, most importantly, trusted collaborators.
Sometimes Paik was directly involved in the installation, and at other times the work relied on his instructions in the hands of his friends.
Moreover, TV Garden requests our active involvement as the audience. We must engage with the space, move around the garden, smell the plants. The sound and the intermittent light of the video envelop us, stark in the darkened room.
A voice-over in Global Groove spoken by Russell Connor explicitly asks for our participation, 'This is participation TV. Please follow instructions.' We wait while Ludwig van Beethoven's 'Moonlight Sonata' 1801 plays over video of a modern dance rendered abstract by Paik's video manipulations.
Paik's voice comes through calm and inviting, 'Close your eyes. Open your eyes. Three-quarter close your eyes. Two-third open your eyes.' This direct address, whether or not we do what he asks, engages our awareness of our role as a viewer. In so doing, Paik subtly alters that role.
The viewer, the place, the music, the smells, the far-flung footage playing on the monitors, all of this enters the work. Indeed, for Paik, art could-even should-embrace the fullness of the world. In a 1972 text on the purview of the artist, he cited 'our good old Baudelaire' as an example of this objective:
Like endless echoes that from
somewhere far beyond
Mingling, in one profound
and cryptic whole unite,
Vast as the twin immensities
of night and light,
So do all colours, sounds,
and perfumes correspond.
백남준에게 예술은 세상의 충만함을 포용하는 것. 예술가의 범위에 관한 백남준 1972년 텍스트에서 그런 것의 한 예로 '보들레르'의 시를 인용한다. "끝없는 메아리처럼/저 너머 어딘가/하나의 심오한/그리고 비밀스러운 총체적 결합, 쌍둥이처럼 광대함/밤과 빛의/모든 색깔과 향기와 소리가 상응한다"
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