“In a traditional concert, sounds move and the audience remains seated”
In “Symphony for 20 rooms”,
The sounds move, the audience also moves.
In my “Omnibus music No.1 (1961),
sounds sit down, the audience visits them.
In “Exposition of Music,
sounds sit, the audience plays with or attacks them.
In “Moving theatre’ in the street,
sounds move in the street and the audience encounters them “unexpectedly” in the street.
– From Nam June Paik’s “New ontology of music” –

Over Music is an experimental music festival exploring a notion of the “ontology of music” that breaks the boundaries between sound performances and the audience. The program is an extension of the exploration of avant-garde music practiced by Nam June Paik and shared with John Cage and Karl-Heinz Stockhausen, as well as a reinterpretation of Nam June Paik as a composer who mixed performance and music.

Nam June Paik’s performances and happenings blurred the boundaries between musician, composer and audience thus transcending traditional art and sound practices to offer a ‘surprise’ experience. Over Music focuses on Nam June Paik’s new approach to arts and sound as well as role in Fluxus music. The program is not simply a celebration of Nam June Paik’s pioneering interest in experimental sound art. In addition it will aim to further develop accompanying theoretical events along with performances based on thorough research of Nam June Paik, music history and theory.

1. Petali Pianissimo (1980)
2. Piano Bench according to George Brecht (1961)
3. Concerto for Housekeeper (1970s)
4. “Piano Piece for Philip Corner” by Wolf Vostell (1960s)
5. “à la manière de Philip Corner” (early 1960s)
6. Respects to Paik : Regrets to Beethoven (2006)
7. “à la manière de Nam June Paik(Beethoven’s 9th)” (early 1970s)
8. The way NJP performed in my 2nd Finale (1961/2008)
9. “Springen” by Henning Christiansen as played by Paik (1961)
10. Pieces of (Musical) Reality : Mirò pianista (1994)