Nam June Paik So Wol Kim 1998 Five antique radio boxes, five televisions, one DVD player with accompanying DVD, red neon tubes, electrical components and two yellow lights. Sculpture: 47 x 43 3/4 x 17 1/2 in. (119.4 x 111.1 x 44.5 cm); With base: 67 x 43 1/2 x 23 3/4 in. (170.2 x 110.5 x 60.3 cm). Signed and dated "Paik '98" upper left face.
Provenance Galerie Bhak, Seoul Exhibited Vinci (Florence), Museo Leonardiano, Nam June Paik a Vinci : arte all’arte, Rinascimento-nascimento: arte, tecnica, tecnologia, scienza, March 16-June 16, 2002; Turin, Palazzo Cavour, Il giocoliere elettronico : Nam June Paik e l’invenzione della videoarte, September 14-November 17, 2002; Bologna, Carisbo San Paolo, Palazzo di Residenza, Tra Arte e Scienza, October, 2006 Catalogue Essay Paik's performing bodies, with their jerry-rigged technologies, insides and outsides, and delirious and desirous complexities seem increasingly relevant as the future catches up to us. (J. Kessler, “The Body Electric: John Kessler on Nam June Paik ” ArtForum, April 2006). He earned a reputation as the father of video art through four decades of pioneering work: from participating in the influential neo-Dada Fluxus community in 1960s New York to owning the first Sony PortaPak, helping develop the first video synthesizer and coining the term “electronic superhighway” long before the internet and wireless communication were realities. For Korean-born artist Nam June Paik technology, the future, and the way the two can be combined and put to artistic uses have been lifelong personal and professional obsessions, the source of inspiration for one of the most groundbreaking and influential bodies of work by anyone, in any media, over the past half century. These concepts inform the design of his robot Sol Wo Kim (1998)—whose meter-high body is made from five antique radio boxes, three mini-televisions, one Sony television, one crushed television, and one laser disk player with disk—but not exclusively: as forward-thinking and technologically-inclined as Paik is, Sol Wo Kim was inspired in equal measure the history of Korea and the late Korean poet of the same name. Born in 1902 and dead by 1934, Sol Wo Kim has become one of the tragic heroes of Korean poetry celebrated for his lyrical poem Jindalae-Kot (“Azalea Flower”) which Paik has inscribed on the surface of his robot, a multimedia sculpture that serves as a fascinating meditation both on the history of his homeland and the future of our globally-connected electronic society. Read More
Nam June Paik So Wol Kim 1998 Five antique radio boxes, five televisions, one DVD player with accompanying DVD, red neon tubes, electrical components and two yellow lights. Sculpture: 47 x 43 3/4 x 17 1/2 in. (119.4 x 111.1 x 44.5 cm); With base: 67 x 43 1/2 x 23 3/4 in. (170.2 x 110.5 x 60.3 cm). Signed and dated "Paik '98" upper left face.
Provenance Galerie Bhak, Seoul Exhibited Vinci (Florence), Museo Leonardiano, Nam June Paik a Vinci : arte all’arte, Rinascimento-nascimento: arte, tecnica, tecnologia, scienza, March 16-June 16, 2002; Turin, Palazzo Cavour, Il giocoliere elettronico : Nam June Paik e l’invenzione della videoarte, September 14-November 17, 2002; Bologna, Carisbo San Paolo, Palazzo di Residenza, Tra Arte e Scienza, October, 2006 Catalogue Essay Paik's performing bodies, with their jerry-rigged technologies, insides and outsides, and delirious and desirous complexities seem increasingly relevant as the future catches up to us. (J. Kessler, “The Body Electric: John Kessler on Nam June Paik ” ArtForum, April 2006). He earned a reputation as the father of video art through four decades of pioneering work: from participating in the influential neo-Dada Fluxus community in 1960s New York to owning the first Sony PortaPak, helping develop the first video synthesizer and coining the term “electronic superhighway” long before the internet and wireless communication were realities. For Korean-born artist Nam June Paik technology, the future, and the way the two can be combined and put to artistic uses have been lifelong personal and professional obsessions, the source of inspiration for one of the most groundbreaking and influential bodies of work by anyone, in any media, over the past half century. These concepts inform the design of his robot Sol Wo Kim (1998)—whose meter-high body is made from five antique radio boxes, three mini-televisions, one Sony television, one crushed television, and one laser disk player with disk—but not exclusively: as forward-thinking and technologically-inclined as Paik is, Sol Wo Kim was inspired in equal measure the history of Korea and the late Korean poet of the same name. Born in 1902 and dead by 1934, Sol Wo Kim has become one of the tragic heroes of Korean poetry celebrated for his lyrical poem Jindalae-Kot (“Azalea Flower”) which Paik has inscribed on the surface of his robot, a multimedia sculpture that serves as a fascinating meditation both on the history of his homeland and the future of our globally-connected electronic society. Read More
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
