HELLO from KOREA

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Sculpture Unlike paintings on paper or silk, stone or metal sculptures from early Korean history were sturdy enough to leave behind ample testimony to the importance of Buddhism in Korea's history and culture. Historically, most and the best Korean sculpture is Buddhist, or rather, is Buddha. The first Korean Buddhas, of gilt-bronze and clay, date back to the sixth century and were found in Goguryeo. The Baekje and Silla kingdoms began to make Buddhas in their own styles shortly after. Buddhas from Goguryeo had rigid bodies, big hands, big usnisas (round bumps on top of the head that symbolize Buddha's supreme wisdom), and barely a smile on their long, thin faces. Buddhas from Baekje, on the other hand, are famous for their benevolent, definitely smiling faces and are warmer, more subtle than the Goguryeo's. The Silla Buddhas had round faces with geometric, stylized features with smiles more subtle than Baekje's and realistically sculpted bodies. The most magnificent Buddha in Korea is in the Seokguram Gilt-bronze Maitreya (early 7th century) 49 _ Culture
50 _ HELLO from KOREA Paik Namjune (1932 ~ ) How do you look at your television set? Korean video artist Paik Namjune has been asking audiences that question through his work for the past thirty years. Most art critics and artists consider Paik Namjune not only the founder of video art but one of the most important experimental artists of this century. Much of his art work attempts to challenge the way we look at television. In one of his first exhibitions in New York City in 1965, he let the audience play with the images on a television screen with giant magnets. Later he used various techniques to distort the broadcast image from famous television shows. His aim was to get his audiences to see in a different light the little “sacred” box omnipresent in their homes. Paik has never hesitated to experiment with “sacred” objects. While studying music in Germany in the 1950s, he performed on pianos which had noise-makers, clocks and assorted household objects glued onto them. Sometimes he chopped or wrecked the piano to obtain different sounds. His goal was to use the unexpected to show that art could be spontaneous and to engage the audience directly. Before moving to America in 1964, Paik helped found the avant garde group Fluxus, which was part of a larger movement to take art out of the museum and to make it a part of people’s everyday lives by experimenting with a variety of different materials and techniques. Paik then chose to play with video technology. In the 1970s, He collaborated with Shuya Abe to build a “video synthesizer” which generated electronic video images timed to music. In its first broadcast in Boston, the video synthesizer played multicolored images to the music of the Beatles. Excited about video art’s possibilities, Paik once proclaimed that the television screen would replace the painter’s canvas. To help make this a reality, Paik moved onto larger, more elaborate projects. After V- ramid (1982) and Tricolor Video (1982), Paik created the first show broadcast by satellite called Good Morning Mr. Orwell (1984), a program which invited performers and artists from around the globe to contribute to what he called a “Global Groove.” In commemoration of the 1988 Seoul Olympics, Paik built a massive work entitled The More the Better, with over 1,000 video screens of various shapes and sizes. Born in Korea in 1932, Paik has become a citizen of the world. He was educated in Tokyo and Munich, taught and worked in New York, and his pieces can be found across the globe. This variety in education and living places has given Paik the luxury of a unique and broad perspective. Paik Namjune, forever the innovator, has used this global perspective to enhance our perceptions of television, of the world and of each other. Now past the age of sixty, Paik remains active on the international art scene. Though he has already earned his place in history, this dynamic artist still has his eyes set firmly on the future.
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HELLO from KOREA

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