Nam June Paik
MOVIE THEATRE NO. 2
- Artist / Artist group
- Nam June Paik
- Title
- MOVIE THEATRE NO. 2
- Category
- Drawing
- Format
- Freehand Drawing
- Material / Technique
- pencil on paper
- Dimensions / Duration
- 25 x 35,8 cm
- Collection
- ZKM | Center for Art and Media Karlsruhe
- Description
- Nam June Paik (1932 Seoul, South Korea – 2006 Florida, USA) is considered one of the most important pioneers of video art. He began experimenting with new media as early as the 1960s and developed a novel and still influential artistic language with works such as “TV Cello” (1971) and “TV Buddha” (1974). His creations had a decisive influence on the intertwining of art, music, technology, and performance. Paik's oeuvre is diverse: it ranges from early tape collages and TV installations to conceptual graphics, robot sculptures, and satellite-based media projects. He repeatedly returned to certain motifs, which he implemented in a variety of ways in his works and placed in new contexts. In a playful and often humorous way, Paik questioned the relationship between humans and television, religion and technology, everyday life and the screen. He never viewed technology in an isolated manner, but rather as an integral part of a cultural, biological, and spiritual system. His works raise questions that invite viewers to engage in an inner dialogue and allow for their own interpretations. Various levels of meaning are also imaginable in this print. Nam June Paik reduces the complex topic of communication to two simple equations. What at first glance appears to be a simple calculating task reveals itself on closer inspection to be a profound reflection on interpersonal processes such as understanding, perspective, and human connection. In the upper part, we see the division of two question marks, symbols of uncertainty and doubt that arise in every human relationship. As the quotient of his equation, he presumably obtains the kanji 無 (mu), which stands for “nothing.” This character is a very old kanji, which is used particularly in Buddhist writings. This reference fits in with Paik's recurring exploration of religion and philosophy, as seen in works such as “Buddha” and “Noah's Ark”. In Zen Buddhism, mu is a well-known answer to paradoxical questions. Such questions are called kōans, short, often contradictory statements or dialogues that serve to challenge ordinary, rational thinking and promote intuitive understanding. A famous kōan is: “Does a dog have Buddha nature or not?” The master's answer is: Mu. Mu does not stand for either yes or no. Rather, mu describes that there can be no logical answer to a question. When Paik links two question marks through division and sets the kanji 無 (mu) as the result, he is playing with logic and philosophy. In mathematics, dividing two equal numbers would result in “1,” but with Paik, the result is “nothing”. This mu is not merely emptiness in the Western sense, but refers to the Buddhist concept of an open dimension. Thus, the comparison of two questions does not yield an answer, but rather opportunities for speculation and reflection. And in this space lies the potential to gain new understanding. The calculation below takes this idea further. Paik also uses a question mark for the root exponent and the radicand. In mathematics, taking a root refers to the search for the hidden core of a number. Transferred to Paik's image, the question mark is now examined as a metaphor for his innermost being. But as in the previous equation, Paik does not obtain a number as a result, but the word “silence”. Paik thus suggests that questions in communication often arise from moments of silence. Those who do not speak leave room for doubt. At the same time, this formula could also be interpreted differently. Anyone who wants to grapple with their own profound questions and doubts needs to be willing to engage in quiet reflection. Only those who are able to pause and replace hasty action with reflection can find the peace and insight needed to ultimately overcome their irritations.
Author
Lara
Mainzer