비디오 아트의 영속성과 원본성에 대한 탐색적 연구

Abstract

Restoration and exhibition in video art is an important policy consideration due to the timespan of 10-15 years of monitor of cathode ray tube. In particular, works recognized as the artist’s representative work or masterpiece should take into account the conflicting factors of permeance and originality in preservation and restoration. ‘The More, the Better’, arguably the largest piece by master Namjune Paik has recently re-operated after a long pause due to the aging monitor and the technical safety. 'The More, the Better' was installed in celebration of opening of the National Museum of Modern and Contemporary Art in the late 1980s. Along with its long history, 1,003 monitors in the piece reflects the historicity. Difficulty in supplying the monitors of that time demands the measures for restoration to reflect the originality, specificity, and symbolism. Building on the existing literature on the concept of 'Aura' by Walter Benjamin, this study seeks the perpetuality and the originality of the piece 'The More, The Better'. By conducting audience interviews and expert opinions, this paper aims to provide broader perspectives on the restoration of the above video art work. This paper compares three alternative restoration policies concerned with the above art work. Diverse and in-depth discussion will be needed to offer future direction of the preservation and restoration of the video work in the 1980s. This paper deals with the preservation/restoration of media art works by mediaartist Baek Nam-joon, owned by the National Museum of Modern and Contemporary Art, which represents the public nature of art enjoyment. More specifically, this study made suggestions for future video art preservation and restoration policies.