Nam June Paik: Art in Process: Part One
On the occasion of Nam June Paik: Art in Process: Part One, curator John G. Hanhardt and Nam June Paik Estate curator Jon Huffman discuss the survey of works spanning the artist’s career.
Gagosian is pleased to announce Nam June Paik: Rewind / Repeat, the first exhibition in twenty-five years to be presented by the Estate of Nam June Paik in Seoul, his place of birth. Opening on April 1, 2026, it surveys the groundbreaking artist’s career and includes significant historical works such as For London and Abroad (Mailbox) (1982) and TV Bra for Living Sculpture (1969), as well as others that have not been previously exhibited.
Nam June Paik: Rewind / Repeat is on view at the headquarters of Amorepacific, the world-renowned Korean beauty company, in the center of Seoul, and takes place in the APMA Cabinet, a project space on the ground floor of the David Chipperfield–designed building.
Paik studied classical music and art at the University of Tokyo and combined this training with a radical aesthetic approach, introducing the technology of television into the realm of fine art as early as the 1950s. Paik moved to West Germany in 1956, where he joined the Fluxus group, and eight years later relocated to New York. There, he drew on his international background and extensive network to develop a practice that incorporated painting, sculpture, performance, music, and electronic media. Although frequently referred to as the father of video art, Paik anticipated a variety of subsequent developments in media and communications, a prescience that continues to unfold as culture is shaped by emergent technologies.
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On the occasion of Nam June Paik: Art in Process: Part One, curator John G. Hanhardt and Nam June Paik Estate curator Jon Huffman discuss the survey of works spanning the artist’s career.

Earlier this year, MIT Press released We Are in Open Circuits: Writings by Nam June Paik. Here Gregory Zinman, coeditor of the book along with John Hanhardt and Edith Decker-Phillips, writes about his first exposure to the artist’s archives, the discoveries made there, and the relationship between Paik’s writings and his larger practice.

The Winter 2019 issue of Gagosian Quarterly is now available, featuring a selection from Christopher Wool’s Westtexaspsychosculpture series on its cover.

Gillian Jakab considers the role of choreography in Nam June Paik’s 1989 video installation Fin de Siècle II.

Alexander Wolf explores the intersection of life and technology as it exists in the work of Nam June Paik, revealing the artist’s ability to balance technological concerns with humanity through music, performance, expressive painting, and images from nature.