백남준 효과

PAIK Nam June Effect

11.10 – 2023.2.26 

국립현대미술관 과천

MMCA Gwacheon

백남준, 칭기즈 칸의 복권, 1993, 217×110×211cm, 백남준아트센터 소장

PAIK Nam June, Rehabilitation of Genghis Khan, 1993, 217×110×211cm,

Nam June PAIK Art Center collection

국립현대미술관은 백남준(1932-2006) 탄생 90주년을 기념해 ‘백남준 축제’를 진행하고 있다. ‘백남준 효과’에서는 비디오 아트의 선구자인 백남준이 1984년 35년 만에 귀국한 후 1990년대 한국 현대미술의 발전에 직·간접적으로 끼친 영향을 조명한다. 또한, 백남준이 국립현대미술관과 함께 기획하였던 역사적인 전시 ‘백남준·비디오때·비디오땅’(1992), ‘휘트니 비엔날레 서울’(1993)의 주요 주제들을 통하여 1990년대 한국 미술의 상황을 새롭게 살펴볼 것이다. 당시 한국 미술계는 세계화와 정보사회 도래라는 급격한 정세변화 속에서 ‘한국의 정체성’을 새로이 발굴하고, 과학과 접목한 ‘예술매체의 확장’을 고민하였다. 이번 전시에서는 이러한 고민이 담긴 1990년대 한국 시각 문화의 정체성을 백남준과 당시 활동한 한국 작가들의 작업을 통해 들여다본다. 이를 통해 비디오 아트로 1990년대 국내 미술계의 흐름을 주도하여 동시대 미술에까지 큰 영향을 미친 백남준이 꿈꿨던 비전을 조명한다.

To commemorate the 90th anniversary of the birth of artist PAIK Nam June (1932–2006), MMCA has organized a ‘PAIK Nam June festival’. ‘PAIK Nam June Effect’ focuses on the direct and indirect influence that video art pioneer PAIK Nam June had on the development of Korean contemporary art in the 1990s, following his 1984 return to his home country after living overseas for 35 years. It also attempts a new examination of Korean art in the 1990s based on the major themes of two historic exhibitions that PAIK co-planned with MMCA: ‘Nam June PAIK:Video Time, Video Space’(1992) and ‘Whitney Biennale in Seoul’(1993). At a time of rapid changes to the landscape with globalization and the advent of the information society, the Korean art world of the time focused on discovering new forms of “Korean identity” and exploring expansions of artistic media that incorporated science. This exhibition uses the work of PAIK and other artists active at the time as a lens to examine the identity of the Korean visual culture of the 1990s, which was a reflection of these explorations. In the process, it highlights the things that PAIK envisioned as someone whose video art pioneered trends in the Korean art world of the 1990s, exerting a major influence on contemporary art.