GENRE AND STYLISTIC FORMS OF THE VIDEOART: NAM JUNE PAIK AND FLUXUS-AESTHETICS

Abstract

The research of mutual impact which arised in the 1960th years videoart and fluxus aesthetics exerted at each other is conducted in this article. Its relations are described through a prism of works of the famous Korean artist Nam June Paik who was at the same time a founder of a videoart as the movement of the western avant-garde and one of active participants of neodadaist experiments, thereby he have connected these two phenomena in the art culture of the West. Contacts of Nam June Paik and famous artists of Fluxus group is the main factor defining the evolution of creative searches of the videoart founder. All leading genres of this art form which had the embodiment in other authors using these media creativity were founded in his works. Special attention is paid to collections of video works by Paik as multiples containing number of works which was the most adequate to art experiments of neodadaism. It is possible to make classification of the genre forms of videoart on the material of artist’s videoworks. These forms differ from each other by the structure of the text, by the representation of the material form, by relations of form to its substantial or subject part of the work, by the subject of the image. Some art forms is allocated on the basis of these specified principles. They were steadily occurring in Paik’s works. These forms are video event, video installation, video performance, video collage, video painting and others. In the last part of article conclusions about the embodiment and the statement of a fluxus aesthetics at different stages of Paik’s creativity by video technologies are drawn.