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Paik, Nam June

Klavier Intégral

1958 - 1963
Object description Fluxus-Piano prepared with different materials
Object category sculpture
Dimensions
Objektmaß: height: 136 cm, width: 140 cm, depth: 65 cm
Year of acquisition 1978
Inventory number P 158/0
Creditline mumok - Museum moderner Kunst Stiftung Ludwig Wien, ehemals Sammlung Hahn, Köln
Rights reference Nam June Paik Estate
Further information about the person Paik, Nam June [GND]
Literature museum moderner kunst.SAMMLUNG HAHN
Musik im Kontext, Werk und Zeit von Monteverdi bis heute. Materialien für den fächerverbindenden Unt
New York. New York. Cinquante ans d'Art, Architecture, Cinéma, Performance, Photographie et Vidéo
DA mal Saturn her an kam. In Erinnerung an Karl Amadeus Hartmann zum 100. Geburtstag
The American Century. Art & Culture 1950-2000
Piano Roles. Three Hundred Years of Life with the Piano
The Worlds of Nam June Paik
visible deeds of music. art and music from Wagner to Cage
Nam June Paik. Olympe de Gouges dans La Fée électronique
Nam June Paik.Exposition of Music Electronic Television.Revisited
New York New York.Fifty Years of Art, Architecture, Cinema Performance, Photography and Video
Méta-Harmonie.Musikmaschinen und Maschinenmusik im Werk von Jean Tinguely
Museum moderner Kunst Stiftung Ludwig Wien
annees Pop : 1956 - 1968 ; exposition presentee au Centre Pompidou, Galerie 1, 15 mars - 18 juin 2001

“The piano is a taboo, it must be destroyed.” Korean born Fluxus artist Nam June Paik shocked the German middle classes in 1963. In his first legendary one man show in Wuppertal, four pianos were turned into action objects, overloaded with civilizational junk. Pressing the keys and operating the switches resulted in a variety of visual and acoustic effects, including flashing lamps, ringing bells, the sound of a transistor radio, and moving parts. The audience was encouraged to take part alongside Paik, who scratched the piano and smeared it with paint. His manipulations and his invitation to reject the bourgeois music industry are not just about destruction. Like John Cage, who was a great artistic influence Paik, he strove to free music from its constrictive non-material ballast and to shock the audience out of its traditional passivity. Tones and noises were designed to materialize, becoming visible and tangible. “Klavier Integral” is the only remaining of the four pianos. Although it cannot be “played” today in its original sense, it still represents the artist’s revolutionary approach. Paik was a media artist who was able to take everything in in the moment. This is a permeable state and—seen negatively—a form of obsession, but in Paik’s case this is to be seen positively.

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1967
Paik, Nam June
Brief an Wolfgang Hahn