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Il Nam June Paik Art Center è una galleria d'arte situata nel distretto di Giheung , Yongin , area metropolitana di Seoul , Corea del Sud. [ 1 ] [ 2 ] [ 3 ] Ha aperto nel 2008 [ 2 ] e ospita mostre permanenti e temporanee. [ 2 ] Prende il nome dall'artista coreano-americana Nam June Paik , le cui opere sono incluse nella sua collezione permanente. [ 1 ]
La galleria assegna il premio Nam June Paik Art Center.
Dettagli
«Le opere esposte nel museo non seguono un vero ordine cronologico o di fama, invitando così i visitatori a farsi una propria opinione sul merito e sul significato di ciascuna opera.» [ 2 ]
Premio del Nam June Paik Art Center
Il premio Nam June Paik Art Center è stato istituito nel 2009. [ 4 ] Viene "assegnato ad artisti e teorici le cui opere ... amalgamano arte e tecnologia, perseguono nuove modalità di comunicazione, interagiscono con il pubblico e fondono e confondono musica, performance e arti visive". [ 4 ] Il premio include una mostra personale presso il Centro. [ 5 ] [ 6 ]
Destinatari
2009: Lee Seung-taek , Eun-Me Ahn , Ceal Floyer e Robert Adrian [ 4 ]
2010: Bruno Latour [ 4 ]
2012: Doug Aitken [ 4 ] [ 5 ] [ 7 ] [ 8 ]
2014: Haroon Mirza [ 4 ] [ 5 ]
2016: Blast Theory [ 4 ]
2018: Trevor Paglen [ 5 ]
Apr 30— Jun 7, 2026
Venue Gallery 2, Nam June Paik Art Center
Date Apr 30— Jun 7, 2026
Curator Lee Sangmi
Artist Nam June Paik, JIN Dallae & PARK Woohyuk, BBU(Breeze Between Us)xAVIAS(African Visual Artists Associates)
Hosted and Organized by Gyeonggi Cultural Foundation, Nam June Paik Art Center
The Nam June Paik Art Center presents Waiting for U.F.O., inaugurating the Nam June Paik Media Art Festival on the 20th anniversary of the artist’s passing in 2026. As its first project, Cosmic Color Opera reinterprets his cosmic thinking through children’s sensibilities and perspectives.
For Nam June Paik, a planet is an open world where different beings exchange signals and connect with one another. The exhibition explore this world through the visual language of saekdong. This pattern, where different colors are arranged side by side in continuous succession, is a metaphor for a world where difference and diversity coexist. Here, the dong in saekdong is newly read as dong (童, child), guiding visitors to experience the cosmos through children’s sensibilities.
The exhibition unfolds in three chapters based on the Nam June Paik Art Center’s collection and contemporary artworks, demonstrating how Paik’s philosophy is expanded within today’s sensibilities. In the first, visitors drift as if floating between worlds, experiencing it through their senses. In the following scene, drawings by children from Korea and Uganda resonate within a single frame, revealing moments when their senses connect. In the final scene, visitors move and respond, and their gestures expand into a single cosmic rhythm. These scenes reveal a constantly evolving universe in which different beings form relationships, exchange sensory experiences, and remain in continuous becoming. Each of us is a color and a sound, and part of the whole, continuing Nam June Paik’s world.
Mar 19— Jun 14, 2026
Venue Gallery 1, Nam June Paik Art Center
Date Mar 19— Jun 14, 2026
Curator Lee Sangah, Dan Oki, Martina Munivrana, Olga Majcen Linn
Artist Aleksandar Srnec, Andreja Kuluncic, Dalibor Martinis, Dan Oki, Darko Fritz, Goran Trbuljak and 10 others
Hosted and Organized by Gyeonggi Cultural Foundation, Nam June Paik Art Center, Museum of Contemporary Art Zagreb
Sponsored by Ministry of Culture and Media of the Republic of Croatia, City Office for Culture and Civil Society of the City of Zagreb
Artists : Aleksandar Srnec, Andreja Kulunčić, Dalibor Martinis, Dan Oki, Darko Fritz, Goran Trbuljak, Ivan Ladislav Galeta, Ivan Marušić Klif, Ivan Picelj, Katalin Ladik, Koloman Novak, Marina Abramović, Sandra Sterle, Sanja Iveković, Tomo Savić-Gecan, Vladimir Bonačić
The Nam June Paik Art Center opens its doors in 2026 with the exhibition Circuits of Chance. The exhibition has been realized through the longstanding collaboration between the Nam June Paik Art Center and the Museum of Contemporary Art Zagreb. It introduces the work of artists primarily from Croatia and explores the points of resonance with Nam June Paik’s art. While Paik's and Croatian art originate from different places, they unexpectedly resonate, creating new networks and forming a space for feedback.
The “New Tendencies” movement, introduced for the first time in Korea, serves as the starting point for this exhibition. Emerging in the early 1960s, New Tendencies (NT, 1961–1973) developed into a dynamic international network of advanced artistic theories and practices. Beginning with the deconstruction of traditional art and bold experimentation with new media, New Tendencies emphasized active audience participation, defined art as a form of “research,” and embraced technological progress with striking optimism. Originating in Zagreb, which briefly became one of Europe’s most dynamic centers for media and early computer art, the movement brought together artists, theorists, and engineers from all around the world in a unique spirit of collaboration. Expanding artistic methodology through the use of computers and algorithms, New Tendencies laid the conceptual and technological groundwork for what we now recognize as media art.
A subsequent and particularly formative phase of media art unfolds through the experimental video practices of the 1970s and 1980s. In this period, artists articulated new relationships between video, performance, and the body. Working at the intersection of technology, temporality, and live art, these artists expanded the expressive and critical potential of the moving image, while actively redefining modes of spectatorship and audience engagement. The transition into the 1990s coincided with the violent breakup of Yugoslavia, as war, collective trauma, and economic collapse reshaped the social and cultural landscape of the region. These conditions prompted a new generation of Croatian artists to pursue their studies abroad, where they encountered different institutional frameworks, artistic languages, and critical discourses. Their exposure to advanced infrastructures, interdisciplinary approaches, and critical media practices proved formative, and they significantly contributed to the development and international positioning of new media art in Croatia. They focused on the question, “How do viewers see and perceive?” By making active use of video’s unique technical qualities—such as repetition, rewinding, and split screens—they presented entirely new visual experiences. Since the 2000s, contemporary art in Croatia has searched for new sensibilities in the digital environment. These works sustain an ongoing relationship with the viewer, showing that an artwork is not a fixed object but a living system that changes with time and data.
Thus, the exhibition traces the broad currents of art while seeking points of convergence between Nam June Paik and Croatian media art. During the period of New Tendencies, these convergences appear as parallel explorations rather than direct contact, shaped by a shared interest in technology, systems, and the redefinition of the artwork and its audience. From the late 1970s onward, these affinities develop into influential personal encounters and exchanges, notably through interviews. For later generations, his already-established career becomes a source of admiration and reference, extending these chance intersections into lasting networks of artistic relations. Across these temporal layers—from parallel beginnings, through direct exchange, to inherited influence—the exhibition reveals how experimentation with technology, engagement with the viewer, and openness to chance encounters generate expanding networks of artistic relations and ongoing possibilities.