The documentary Nam June Paik: Moon Is the Oldest TV, which explores the groundbreaking video artist’s life and work, is like nothing Paik ever would have made himself. It’s far too easy and chronological, far too involved with presenting issues in a transparent and complete vogue — whereas Paik spent most of his profession severely messing issues up, whether or not he was doing it with musical devices, tv units or reside TV broadcasts distorted by means of time and house.
However that doesn’t imply director Amanda Kim’s first function isn’t value a glance. For anybody within the origins of what we now name video artwork, to not point out mass media and the web, it’s important viewing. Paik was a real visionary who foresaw the digital world we now reside in, and Kim’s movie chronicles how he channeled that imaginative and prescient by means of madcap sculptures and installations that took expertise to locations it was by no means meant to go. The place most individuals noticed circuits, wires, screens and cathode-ray tubes, Paik noticed abstractions, potentialities and pixilated photographs of the chic.
Nam June Paik: Moon Is the Oldest TV
The Backside Line
The tv can be revolutionized.
Kim, who beforehand labored at Vice TV, dutifully retraces Paik’s curler coaster-like trajectory — starting along with his early days as a Korean immigrant in Munich, the place he studied music and was an admirer of Arnold Schönberg. In 1958 he attended a efficiency by composers John Cage and David Tudor that may change his life, opening him as much as the probabilities of experimentation not solely in music, the place he selected to smash devices as a lot as play them, however in artwork as nicely.
For a present within the early Sixties he employed tv units for the primary time, however no one appeared to care. Paik determined to relocate to New York, arriving in a metropolis ripe with younger and daring creators — together with members of the Fluxus motion who noticed themselves extra as saboteurs than artists. Residing hand-to-mouth in downtown Manhattan (one archival letter exhibits a weekly meals funds consisting largely of tuna cans), Paik rubbed shoulders with burgeoning skills who belonged to the creative avant-garde: Jonas Mekas, Merce Cunningham, George Maciunas, Joseph Beuys and Cage, who remained a lifelong good friend and supporter.
What separated Paik from the others was his obsession with new expertise, particularly the probabilities that tv, then America’s hottest type of leisure, provided for an artist prepared to twist, distort and deviate TV from its typical utilization. He made sculptures out of previous units, rewired televisions so he may play them like synthesizers, or constructed a TV brassiere for cellist and common collaborator Charlotte Moorman to put on throughout one legendary efficiency.
That individual present would get Paik arrested for indecency by the NYPD, whereas critics from The New York Instances and different shops dismissed his creations, unable to see that digital artwork was the way in which of the long run. “My work seems uncommon nevertheless it has a profound background,” he tried to clarify, however it might take a few years of sweat, toil and repurposed Zeniths and RCAs for Paik to be taken severely.
This occurred in 1974 along with his landmark piece TV Buddha, a brilliantly easy idea — a statue of Buddha contemplates his personal reside picture on a TV set — that spoke volumes concerning the huge, existential abyss that tv represented. The work turned a sensation and turned Paik into a significant determine, setting the stage for extra formidable and monumental items, whether or not they have been towering TV sculptures or a 1983 New 12 months’s Eve broadcast that degenerated right into a drunken taking place.
For these already acquainted with Paik, what’s maybe most revelatory in Kim’s documentary, which is loaded with archival footage from begin to end, are the artist’s personal ideas and contemplations as learn by actor Steve Yeun (Nope, Burning). We not solely learn the way Paik skilled the setbacks and criticisms of his early years, however how he felt about his native Korea — a rustic he fled within the Fifties and solely returned to a long time later, as soon as he was already a well-known worldwide artist.
The extra we uncover Paik’s previous, reminiscent of how he was estranged from his rich father and grew up traumatized by the Korean Battle, the extra we start to know that his artwork was each about destruction — of violins or pianos or TV screens — and connection, utilizing tv to forge new methods of seeing and being, in addition to to get previous American stereotypes about Asians like himself.
By the point he was in his 60s and suffered a significant stroke, Paik’s impression on artwork and well-liked tradition, particularly commercials and music movies, was widespread and long-lasting. His 1995 sculpture Digital Superhighway, a large map of the U.S. composed of TV units enjoying packages by the artist, would predate the time period “data superhighway” by only a 12 months. Like every little thing he foresaw, Paik additionally envisioned the huge flux of photographs and content material of the rising World Vast Net.
Of the completely different Paik aphorisms heard in Kim’s thorough and informative movie, the one which in all probability stands out essentially the most is: “newness is extra necessary than trueness.” It speaks to the artist’s love of expertise and new mediums, and in addition his refusal to look again regardless of unhealthy opinions, poor well being and lengthy intervals of failure within the public eye. In Nam June Paik: Moon Is the Oldest TV, a visionary isn’t solely somebody who predicts what’s coming subsequent, however who does so even when nobody is listening.