Contending with 1,003 TVs - written by 20522 Chang Gyumin

Contending with 1,003 TVs

written by 20522 Chang Gyumin

The Birth of the Historic TV Tower

It was in 1988 that the world-wide symbolistic historic video-art installation was completely constructed. Dadaikseon (The More the Better) was created by Nam June Paik, a Korean-American artist who is widely regarded as a pioneer in video-art, and supported by Won Kim, a Korean architect. It was made with 1,003 CRT TV sets in a circular tower, each showing eight different videos Paik had taken for his former works.

It is significant for integrating video and art to open a new indicator for world art history. He mentioned that, just as collage replaced oil painting in modern art, CRT would supplant canvas, so a TV monitor equals an artists’ canvas and instead of working on a canvas with paints it is done with a synthesizer. Screens on the TVs of Dadaikseon serve it. Nevertheless, now the meaning he desired became nothing anymore.

Declaration of the Tower’s Death

In February 2018, after a periodic inspection of the artwork led by Korea Electrical Safety Corporation, announced that it was dangerous since it could lead to fire or explosion if kept in operation. Its main cause was a short circuit caused by the aging of its parts. As a result, the National Museum of Modern Contemporary Art (MMCA) which held the installation decided to cease its operation and find a solution.

The aging problem has caused several problems over the years, and MMCA tried hard to resolve them. There was a fire caused by aging of the monitors in 2002, resulting in the following year the museum changing all of 1,003 monitors into new ones. There were also over seven times after that when maintenance was needed.

At that time, the parts of them could be repaired and replaced, but now they cannot. Almost every part has been discontinued worldwide including CRTs, so the museum can no longer find substitution parts in other countries like they did before.

Its Destiny in Jeopardy

When considering all these situations, the decision of ceasing its operation was thought to be wise. Yet, the controversy on the tower’s destiny has remained for six years. Professionals in South Korea all have different opinions.

Some think that the monitors of TV sets made of CRTs should be replaced with LED or LCD panels to keep showing the videos. What this opinion concentrates on is the contents of the work, which also Paik considered the main part of his video-art works.

It is based on Paik’s idea of “You can attach some flat things of these days since everyone will go on so.” 

Also, the statement made by him is guaranteed by Jeongseong Lee, who was qualified to repair the art installation by Paik, that new technologies can be used to fix the TVs if the contents of them can be sent out intact. In addition, there is the case that monitors one of his work was identified to be replaced with LCD monitors. However, this way can distort not only the monitors’ circle surface made by CRTs but also the texture, so its own identity can be damaged.

On the contrary, others think that it should be demolished. This opinion has been posted in the museum. A commemoration exhibition of another way with terms which conserve its video contents is the more progressive alternative than maintaining it by constraint with other substitutes that can change its identity. It was contractually to be installed only for ten years when first constructed.

They say that Ramp Core, the main hall of the museum and where it was installed, was originally in a role of the main hall of the museum interconnecting many art pieces, and the tower is intervening with the main purpose of there. Though, this should be taken as the last way, since the demolishment will take one of Paik’s legacy away which is also a symbol.

There are some new solutions such as waiting for new technology that can replace CRTs or the curved surface of the TVs, for example, OLED TV (a film-like flexible LED panel). Yet, they are not gaining power and are getting smaller.

To make a consensus for this controversy, many debates have been held several times since 2012. However, these arguments have mismatched to the degree that it has not been made for almost six years.

The Final Decision is Unknown

The public’s attention to the destiny of Dadaikseon, the problematic tower of CRT TVs, surged as its declaration of death was announced.

Now, MMCA is the principal agent of its recovery or destruction. Since the museum is run by the government, its decision can represent the view of value regarding modern art and video art of South Korea, which can have a huge effect on Korean modern or video artists and upcoming progress of the Korean art world. The decision on this contention for the video art piece is a significant chance to show South Korea’s artistic philosophy.