“Paik wanted to build an anthropomorphic robot, because he was fascinated by the scientists’ discovery that the human brain had begun to grow after man stopped walking on all fours and had to figure out what to do with his two ‘free’ hands.”
– Wulf Herzogenrath, Hayward Gallery 1988 exhibition catalogue “Nam June Paik Video Works 1963-88”
Dieter Ronte – Nam June Paik’s Early Works in Vienna (1982). Originally printed the catalog of the Whitney Museum “Nam June Paik” show: Nam June Paik by Nam June Paik , John G. Hanhardt, Whitney Museum of American Art Staff, ISBN 0874270375 (0-87427-037-5), Hardcover, Whitney Museum of American Art (1982).
– Lies are Always More Exciting than the Truth – Nam June Paik’s Futuristic Traditionalism by Dr. Thomas Kellein.
Hans Günter Golinski:
Susanne Rennert – I liked it
In 1977, photographers Larry Sultan and Mike Mandel sifted through thousands of photographs in the files of the Bechtel Corporation, the Beverly Hills Police Department, the Jet Propulsion Laboratories, the U.S. Department of the Interior, Stanford Research Institute and a hundred other corporations, American government agencies, and educational, medical and technical institutions. They were looking for photographs that were made and used as transparent documents and purely objective instruments–as evidence, in short. Selecting 50 of the best, they printed these images with the care you would expect to find in a high-quality art photography book, publishing them in a simple, limited-edition volume titled Evidence. The concept for the book was clear: select photographs intended to be used as objective evidence and show that it is never that simple. Now an undisputed classic in the photo world, considered a seminal harbinger of conceptual photography, the first edition of Evidence is nearly impossible to find.
building a new world in the shell of the old.prefigurative politics
We are lacking a discipline, perhaps an ‘objectology,’ or an 'object ethology,’ which allows us to analyze and systematize objects and to formulate the rules and codes of their behaviour … a discipline which recovers and updates the interrupted discourse of material culture, in crisis since the world of objects was taken over by the world of products and the world of consumptionMarco Susani cited in Anthony Dunne
Barnett Newman’s Voice of Fire at the National Gallery of Canada
The men’s bathroom at the National Gallery of Canada (David Clark)
Academics and artists aren’t the only ones who would like to have access to the future world. Capitalists would like a peek, too.Designing for a science fiction future - The Boston Globe