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The More, The Better

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The More, the Better, alternatively referred to as Dadaikseon (Korean: 다다익선), is a video sculpture created by Nam June Paik for the purpose of the National Museum of Modern and Contemporary Art during the 1988 Summer Olympics.[1] The sculpture consists of a tower measuring 8.5 meters (60.7 feet) in height and 11 meters in diameter, adorned entirely with an impressive arrangement of 1,003 cathode ray tube (CRT) television monitors.[2] The work still stands in the rotunda of the National Museum of Modern and Contemporary Art in Gwacheon, Gyeonggi Province, South Korea.[3]

Creation

The More, the Better was commissioned for the 1988 Summer Olympics, marking the first occasion the Games were held in Paik's home country.[1] The artwork incorporates a collection of Samsung televisions of various sizes and ages, showcasing the diversity and rapid advancements in television technology.[2] The arrangement of screens displays a variety of imagery, including Korean folk drummers, Merce Cunningham's dance performances, airplanes, ceramics, birds, and more, presented in rapid succession. Paik intentionally distorts and manipulates these visuals, creating abstract and vibrant displays. The sculpture, designed by architect Won Kim, bears resemblance to both the Tower of Babel and a traditional stone pagoda.[4]

Paik's artwork, The More, the Better, was designed to anticipate and embrace the grandiosity and spectacle that would come to define art museums in the future. The sculpture's structural composition and the dynamic imagery displayed on the screens were intended to captivate viewers while evoking a mischievous sense of playfulness. By presenting a diverse range of imagery, the artwork aimed to overwhelm and challenge traditional notions of media consumption, preventing definitive satisfaction for the viewer.[4]

"The More the Better" attracted an audience of 50 million viewers through a broadcast that featured entertainment from various parts of the world. The event aimed to capture the artistic highlights of multiple cultures in a single space, celebrating the connectivity and global fellowship facilitated by television. It is worth noting that the title of the installation, "The More the Better," carries a touch of irony, underscoring its connection to mass production and consumerist culture, which reflects South Korea's own economic aspirations.[5]

The creation and restoration of The More, The Better held personal significance for Paik, as evidenced by the accompanying exhibition titled "Merry Mix: The More, the Better" (Sep 15, 2022 - Feb 26, 2023). This exhibition shed light on Paik's artistic vision, which he described as a "merry mix of the old enfants terribles and the new."[4]

Moreover, in 1986, as part of the preparations for the 1988 Summer Olympics, the construction of the MMCA (Museum of Modern and Contemporary Art) building in Gwacheon was completed. The MMCA's design bore a resemblance to the Solomon R. Guggenheim Museum in New York, which raised concerns about the similarity between the two structures. To differentiate the MMCA, Nam June Paik was specifically commissioned to create a centerpiece that would distinguish it from the Guggenheim. As a result, Paik designed and installed a video tower titled Dadaikseon (The More, the Better; 1988) on the main ramp of the MMCA building.[1][4] Although the new centerpiece aimed to set the MMCA apart, it still retained certain resemblances to the Guggenheim.[4] Additionally, from 1987 to 1988, the MMCA hosted a series of exhibitions, including the Contemporary Art Festival '87, the Special Exhibition of International Contemporary Painting, and the World Invitational Open Air Sculpture, showcasing the museum's commitment to presenting diverse and evolving art.[1][6]

The backdrop of the 1988 Summer Olympics, along with the support from the government and corporations, provided Paik with opportunities to realize his artistic visions. He received extensive support and was frequently commissioned to create projects for international events hosted by Korea, such as the 1986 Asian Games, the 1988 Summer Olympics, and the Expo '93.[1]

Paik's return to South Korea had an impact on the local art scene. While the general public celebrated him as a brilliant and eccentric artist who represented the future of Korea, some artists remained uncertain about his radical yet apolitical view of art. At the time, South Korea's cultural expressions faced significant censorship under the military regime, which harshly punished intellectuals who dared to challenge its legitimacy. The dominant artistic movement, Minjung art, focused on politically charged works that embraced socialist realism and criticized Western modern art as imperialistic and bourgeois. In contrast, Paik's "formalist video" presented an aesthetic of moderation that transcended ethical and societal boundaries.[3]

During this period, Paik's close association with Samsung held great significance. Despite being relatively unknown as an electronics brand outside of Korea at the time, Samsung showed support for Paik, on the condition that he exclusively used Samsung TV monitors. This partnership established a symbiotic relationship, as both Paik and Samsung worked together to promote a modernized and globally recognized image of Korea.[1][2]

Restoration of artwork

Nam June Paik's The More, The Better under restoration

The More, the Better underwent a temporary shutdown due to safety concerns following an assessment conducted by the Korea Electrical Safety Corporation in March 2018.[7] The assessment revealed fire risks, necessitating a comprehensive restoration project by Kwon In-Chul, the installation's curator.[7]

During restoration, each cathode ray tube (CRT) monitor on the tower underwent meticulous inspection. Among them, 737 damaged CRT monitors were repaired using secondhand monitors and components, ensuring their proper functionality. An additional 266 monitors were deemed beyond repair. They were replaced with LCD screens, carefully designed to maintain the outward appearance of CRT monitors. These LCD screens, mainly 6- and 10-inch in size, now occupy the tower's upper section. Furthermore, the cooling systems of the monitors were addressed to enhance their performance and longevity. A six-month test run took place from January to July of that year to ensure the successful restoration.[7]

In addition to addressing the safety concerns, the restoration project encompassed the restoration of all eight videos from the original installation. The National Museum of Modern and Contemporary Art, Korea (MMCA) retrieved and restored these videos from their archive, presenting them as part of the special exhibition titled "Merry Mix: The More, the Better.[7] As part of the comprehensive restoration plan announced in September 2019, the 18.5-meter-tall tower underwent the final stage, including a six-month test run in January and concluding on July 8.[7]

This exhibition not only showcased the restored installation but also featured interviews and archival materials that provided invaluable insights into the rich history of this artwork.[7] Initially created in 1988, the tower has experienced technical problems and has required frequent repairs since 2003.[7] The three-year restoration plan aimed to preserve the work's prototype, ensuring its long-term stability and accessibility for future audiences.[7]

Legacy and influence

The More, the Better by Nam June Paik pushed the boundaries of traditional art forms and introduced new possibilities for artistic expression.[1][2] Paik's innovative use of television and interactive technology paved the way for future generations of artists working with video and new media.[2]

The installation also marked a significant moment for South Korea, as it showcased the country's cultural and artistic renaissance during the Seoul Olympics.[3][7]The More, the Better became what some critics say "An iconic symbol" of the event and remains an important part of the nation's artistic heritage.[3][6]

References

  1. ^ a b c d e f g Hanhardt, John G. (2006). "Nam June Paik (1932–2006)". American Art. 20 (2): 148–153. doi:10.1086/507506. ISSN 1073-9300.
  2. ^ a b c d e "Nam June Paik". Nam June Paik. 1970. doi:10.5040/9781350908697.
  3. ^ a b c d Bechtel, Roger (2013). "Avant-Garde Performance and Material Exchange: Vectors of the Radical ed. by Mike Sell". Theatre Journal. 65 (4): 614–615. doi:10.1353/tj.2013.0130. ISSN 1086-332X.
  4. ^ a b c d e Russeth, Andrew. "Andrew Russeth on Nam June Paik". www.artforum.com. Retrieved 2023-05-23.
  5. ^ "ArtAsiaPacific: The Essential Works of Nam June Paik". artasiapacific.com. Retrieved 2023-05-23.
  6. ^ a b "9780714878331: Korean Art from 1953: Collision, Innovation and Interaction | BookScouter.com". bookscouter.com. Retrieved 2023-05-23.
  7. ^ a b c d e f g h i "Paik Nam-june's 'The More, The Better' at MMCA ready to run in September". www.koreaherald.com. Retrieved 2023-05-23.
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