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Antagonism in Nam June Paik’s Return to Korea in the 1980s

  • Journal of History of Modern Art
  • 2024, (56), pp.61-83
  • Publisher : 현대미술사학회
  • Research Area : Arts and Kinesiology > Art > Arts in general > Art History
  • Received : October 27, 2024
  • Accepted : December 1, 2024
  • Published : December 31, 2024

Bookyung Son 1

1State University of New York at Binghamton

Accredited

ABSTRACT

This article explores the signs of conflict and antagonism that emerged during the process of Nam June Paik’s video art being accepted in Korea, with a particular focus on the reactions of Korean society to his Good Morning, Mr. Orwell, aired on KBS, and his return to Korea in 1984. The rapid and condensed reception of Paik in Korean society during the 1980s left unresolved issues that remain understudied or require new perspectives. To articulate the antagonism in Paik’s reception, this study first examines the tensions surrounding his interactions with Korean society in the 1960s and 1980s. It specifically delves into the hostile reactions behind the national enthusiasm for Paik at the time by analyzing a 1984 roundtable of realist artists. In exploring the relationship between Paik and Korean art, their sharp critiques of avant-garde practices, technological media, and realist agendas reveal the issues in an uncritical acceptance of Paik’s work. These also raise questions about the gap between media environments in each region, beyond the scope of their critiques. Suggesting the antagonism in Paik’s return to Korea as a pivotal topic for Korean art history, the article reframes the “Nam June Paik phenomenon” or the “Nam June Paik effect,” not as a universal narrative of global art, but within the specific cultural and technological conditions in Korea.

Citation status

* References for papers published after 2023 are currently being built.

This paper was written with support from the National Research Foundation of Korea.