ART SG FILM 2024 | Fairs | Fairs & Collecting

Nam June Paik and Jud Yalkut’s video Waiting for Commercials, 1966–72 (1992) features in ART SG FILM 2024, a program within the fair dedicated to showcasing new and experimental filmmaking practices, as well as art historically resonant works, particularly by artists and practitioners from around the Southeast Asia and Asia Pacific regions. Curated by Sam I-shan and copresented with the ArtScience Museum, this year’s program, Embodied Presences, gathers works addressing the body’s expressive potential. Organized into four hour-long daily screenings—Movement in Space (11am), Voice and Being (12:30pm), The Worldly and Otherworldly (2pm), and Future Shock: The End of Eternity (3:30pm)—it plays at ArtScience Museum’s cinema. Included in The Worldly and Otherworldly, Waiting for Commercials, 1966–72, an uproarious compilation of Japanese TV ads, is an early example of Paik’s use of appropriated broadcast imagery and was originally produced to accompany a performance work of the same title featuring Charlotte Moorman. The event is free to attend on a first-come, first-served basis.

Nam June Paik and Jud Yalkut, Waiting for Commercials, 1966–72, 1992 (still) © Nam June Paik Estate and © Estate of Jud Yalkut. Courtesy Electronic Arts Intermix (EAI), New York

From the Quarterly

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.

Reading Nam June Paik

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.

Now available
Gagosian Quarterly Winter 2019

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

Time by Dance by Paik

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

Life and Technology: The Binary of Nam June Paik

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.