This paper calls for a reassessment of early-stage Korean avant-garde and experimental art as the cornerstone of Korean media art. The aim is to discern a new genealogy of media art in Korea by tracing and linking the activities of early avant-garde artists and media art pioneers who have been neglected in the dominant art historiography, which has shown a preference for painting and video art. My detailed analysis of the experimental artists of the 1960s and 1970s, small groups in the mid-1980s, and the Art Tech Group in the early 1990s demonstrates how they revealed and articulated their spirit of resistance against academism and the mainstream using technology, thus following a different trajectory from that of the avant-garde and media art in Europe and North America.
Why is art allied with philosophy? Why are artists expected to be familiar with critical discursive practices? This paper sketches a naturalistic framework for approaching this problem by conceptualizing knowledge as a complex adaptive system. The author argues against a static image of the disciplines, as implied by Biglan’s typology, and proposes an evolving understanding of disciplinary dynamics. Based on this framework, the author suggests that art and philosophy form a communication niche maintained primarily through the positions of the critic and curator. The author questions the usefulness of this bond and advocates for the free exploration of the ecology of knowledge.
Throughout the author’s career, Neural Art, which is based on the functional properties of the nervous system, has been a significant part of his artwork. Three features stimulated his artistic development: (1) nervous systems as functioning networks, (2) sequences of neural impulses that operate within these networks, and (3) the interactions of nervous systems with external environments. This has resulted in three types of artworks: (1) artist’s books, (2) paintings with overlaid grids to suggest the neural networks as interfaces between inner experience and outer reality, and (3) interactive sound sculptures and installations that, when viewers move around the pieces, generate nerve impulse–like sounds or words and phrases related to a nervous system experiencing the external environment. This paper describes the development of this artwork.
In the mid-1970s the group Laboratory of Presentation Techniques (LPT) was active at the Academy of Fine Arts in Katowice. The artists conducted experiments and formal searches, exploring the potential of film, performance, and a new medium: video. LPT was the first in Silesia, the second in Poland, and one of the first artistic groups in Europe dealing with video art. Looking at the artistic path of Grzegorz G. Zgraja, the last of the artists, as well as Jadwiga and Jacek Singer’s works, the paper analyzes the most pivotal artistic achievements of the group. Based on the interviews and archival research, the author reconstructs LPT’s artistic contribution to European media art and the reasons these pioneers of media art were forgotten.
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