CONTACT
Nam June Paik and Jud Yalkut
전자 달 2번 Electronic Moon No.2 | 1966–72 | 4’56”
Courtesy of Electronic Arts Intermix (EAI), New York
Courtesy of Electronic Arts Intermix (EAI), New York
SynopsisElectronic Moon No. 2 is part of Video-Film Concert, a restored collection of rare early collaborative works that is both historically significant and remarkably prescient. Recorded between 1967 and 1972, these “video-films” offer insights into the evolution of Paik’s practice across video, performance, and installation, and stand among the earliest explorations of the interface between film and video. Marked by playful, irreverent improvisation and experimentation, the works link Paik’s performance and sculptural experiments of the 1950s and early 1960s to the celebrated video works and installations of later years. Electronic Moon No. 2 features Claude Debussy’s Clair de Lune.
About the artist
Nam June Paik was a pioneering artist of video art whose work reshaped electronic media through video sculpture, installation, performance, and single-channel video. For Paik, video was not simply a tool of recording but a means of communication and an extension of perception. His landmark first solo exhibition Exposition of Music–Electronic Television (1963, Wuppertal) demonstrated the early potential of video as an art form. He later coined the idea of the “Electronic Superhighway” (1974), anticipating networked culture, and expanded his global presence with the satellite broadcast Good Morning, Mr. Orwell (1984).
Jud Yalkut was a pioneering intermedia artist and filmmaker whose practice spanned film, video, expanded cinema, performance, and installation. From 1966 through the 1970s, he collaborated closely with Nam June Paik on hybrid video-film works such as Videotape Study No. 3, Beatles Electroniques, and the Cinema Metaphysique series, forging a new visual language by colliding film materiality with electronic modulation. Yalkut also worked widely as a teacher, curator, and writer; his 350-page manuscript Electronic Zen remains an important cultural-historical record of the early alternative video scene.