TV Garden
Date/ 1974/2002
Artist(Credit Line)/ Nam June Paik
Classification/ Installation
- I Wrote it in Tokyo in 1954
- Beuys Vox
- Magnet TV
- Nixon TV
- TV Crown
- Swiss Clock
- Participation TV
- TV Garden
- TV Fish (Video Fish)
- TV Buddha
- TV Clock
- Moon is the Oldest TV
- Candle TV
- Real Fish/Live Fish
- Three Elements :Square
- Three Elements : Triangle
- Three Elements : Circle
- Elephant Cart
- Think Loud
- Piano & Letters
- Rabbit inhabits the moon
- Ideas You Believe are Absurd Ultimately Lead to Success
- Eclipse
- No.1 Video Chandelier
- Transmission Tower
Dimensions / Variable
Medium / 102 CRT TVs, live plants, amplifiers, speakers, Global Groove, 1-channel video, color, sound, 28:30
Televisions lie around as if blossoming, in this dense garden of real plants and bushes. What is played on the monitors is the video Global Groove which consists of dazzling sequences of music and dance from different parts of the world, from diverse types of art and culture, born out of Paik’s typical style of video synthesis. Without a master narrative of weaving the disparate elements, this video seems to recommend a simple and intuitive viewing. TV monitors in TV Garden reveal their presence by being placed at an unusual angle. Viewers are led to look down the television monitors facing upwards or lying on the side slantingly; they are led not to concentrate on one monitor but to watch multiple monitors at the same time. The natural environment which is artificially created and maintained inside the museum, and the television, a symbol of technology, which is often regarded as opposite to nature, form a single organic space. Here electronic images, coming from the television monitors and traveling through the leaves to the video’s musical rhythms, become part of the ecological space, in which Paik made the stimuli of pixels and the greens of foliage dance together in a constantly changing flux.
Medium / 102 CRT TVs, live plants, amplifiers, speakers, Global Groove, 1-channel video, color, sound, 28:30
Televisions lie around as if blossoming, in this dense garden of real plants and bushes. What is played on the monitors is the video Global Groove which consists of dazzling sequences of music and dance from different parts of the world, from diverse types of art and culture, born out of Paik’s typical style of video synthesis. Without a master narrative of weaving the disparate elements, this video seems to recommend a simple and intuitive viewing. TV monitors in TV Garden reveal their presence by being placed at an unusual angle. Viewers are led to look down the television monitors facing upwards or lying on the side slantingly; they are led not to concentrate on one monitor but to watch multiple monitors at the same time. The natural environment which is artificially created and maintained inside the museum, and the television, a symbol of technology, which is often regarded as opposite to nature, form a single organic space. Here electronic images, coming from the television monitors and traveling through the leaves to the video’s musical rhythms, become part of the ecological space, in which Paik made the stimuli of pixels and the greens of foliage dance together in a constantly changing flux.