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Nam June Paik (1932–2006) was a pioneering artist who played a critical role in the development of video art. He created a vast oeuvre of innovative and experimental artworks encompassing many different fields, incorporating his deep understanding and anthropological interest in religions, cultures, and philosophies of both East and West. Paik was also a leading figure in the avant-garde Fluxus movement, which challenged traditional art concepts through interdisciplinary explorations. After studying aesthetics and art history at the University of Tokyo, Paik moved to Germany in 1956, where he delved into Western philosophy and contemporary music while interacting with avant-garde artists like John Cage and Joseph Beuys. In the early 1960s, Paik became an active member of the Fluxus art collective, with whom he staged a series of groundbreaking events involving performances and experimental music. His March 1963 exhibition Exposition of Music–Electronic Television at Galerie Parnass in Wuppertal is recorded as the first video art exhibition using television as a medium. In the 1970s, Paik presented numerous video installations, including TV Garden (1974), and in the 1980s, he initiated global satellite art projects such as Good Morning, Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the World (1988). Always interested in the social role of art, Paik was the first to explore the artistic possibilities of satellite technology enabling real-time communication across the globe. But his works transcended technological innovation by providing insights on profound themes related to the fusion of Eastern and Western culture, the relationship between humanity and technology, and the use of art for global communication and harmony. His first retrospective was held in 1982 at the Whitney Museum of American Art, and in 1993, he represented Germany at the Venice Biennale, where he won the Golden Lion. Created to commemorate the 1988 Seoul Olympics, The More, The Better is a gigantic tower of televisions installed at MMCA Gwacheon. The tower contains exactly 1,003 monitors, in honor of Korea’s National Foundation Day (October 3). The visuals juxtapose landmarks from both Korea, such as Namdaemun Gate, and other parts of the world, such as the Arc de Triomphe in Paris, along with images of fish and color bars. The rapidly shifting forms and vibrant color fields exemplify the dazzling traits of Nam June Paik’s experimental video art.
