美国前卫艺术家白南准最重要的作品系列之一。“Video-Film Concert”系列包括6部拍摄于1966-1972年间的短片，其中第二部《Beatles Electroniques》被认为是VIDEO ART的早期经典。 　　Video-Film Concert 　　by Nam June Paik and Jud Yalkut 　　1966-72, 1992, 34:50 min, b&w and color, sound 　　Video Tape Study No. 3 1967-69, 4 min, b&w, sound 　　Beatles Electroniques 1966-69, 3 min, b&w and color, sound 　　Electronic Moon No. 2 1969, 4:30 min, color, sound 　　Electronic Fables 1965-71, 1992, 8:45 min, b&w and color, sound 　　Waiting for Commercials 1972, 6:45 min, color, sound 　　Electronic Yoga 1972-92, 7:30 min, b&w and color, sound 　　This recently restored collection of rare early collaborative works by Nam June Paik and Jud Yalkut is historically significant as well as remarkably prescient. Recorded between 1967 and 1972, these "video-films" reveal insights into the evolution of Paik's work in video, performance and installation, and are among the earliest explorations of the interfacing of film and video. They are marked by a playful, irreverent sense of improvisation and experimentation. Richly inventive and ironic, if at times technically crude, these experiments form a link between Paik's performance and sculptural works of the 1950s and early 1960s and the celebrated videotapes and installations of recent years. 　　These seminal collections include early examples of mass media appropriation, deconstruction and manipulation as cultural and political critique. For example, Video Tape Study No.3 is a direct media intervention, in which Paik distorts and manipulates footage from news conferences by U.S. President Lyndon Johnson and New York Mayor Lindsey. In a witty performative gesture, Paik briefly asserts his presence by waggling his finger at the screen. 　　Waiting for Commercials -- a hilariously kitschy compendium of Japanese TV commercials from the 1970s -- is an early example of Paik's use of appropriated television imagery as pop cultural artifact. Beatles Electronique reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik's early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik. 　　Video Tape Study No. 3: Sound: David Behrman & Kenneth Lerner. 　　Beatles Electroniques: Sound: Kenneth Lerner. 　　Electronic Moon No. 2: Sound: Debussy.

美国前卫艺术家白南准最重要的作品系列之一。“Video-Film Concert”系列包括6部拍摄于1966-1972年间的短片，其中第二部《Beatles Electroniques》被认为是VIDEO ART的早期经典。 　　Video-Film Concert 　　by Nam June Paik and Jud Yalkut 　　1966-72, 1992, 34:50 min, b&w and color, sound 　　Video Tape Study No. 3 1967-69, 4 min, b&w, sound 　　Beatles Electroniques 1966-69, 3 min, b&w and color, sound 　　Electronic Moon No. 2 1969, 4:30 min, color, sound 　　Electronic Fables 1965-71, 1992, 8:45 min, b&w and color, sound 　　Waiting for Commercials 1972, 6:45 min, color, sound 　　Electronic Yoga 1972-92, 7:30 min, b&w and color, sound 　　This recently restored collection of rare early collaborative works by Nam June Paik and Jud Yalkut is historically significant as well as remarkably prescient. Recorded between 1967 and 1972, these "video-films" reveal insights into the evolution of Paik's work in video, performance and installation, and are among the earliest explorations of the interfacing of film and video. They are marked by a playful, irreverent sense of improvisation and experimentation. Richly inventive and ironic, if at times technically crude, these experiments form a link between Paik's performance and sculptural works of the 1950s and early 1960s and the celebrated videotapes and installations of recent years. 　　These seminal collections include early examples of mass media appropriation, deconstruction and manipulation as cultural and political critique. For example, Video Tape Study No.3 is a direct media intervention, in which Paik distorts and manipulates footage from news conferences by U.S. President Lyndon Johnson and New York Mayor Lindsey. In a witty performative gesture, Paik briefly asserts his presence by waggling his finger at the screen. 　　Waiting for Commercials -- a hilariously kitschy compendium of Japanese TV commercials from the 1970s -- is an early example of Paik's use of appropriated television imagery as pop cultural artifact. Beatles Electronique reveals his engagement with manipulation of pop icons. Several pieces, including Electronic Fables, are examples of Paik's early experiments with electronic image manipulation, prior to his invention of the Paik/Abe Video Synthesizer. This piece also makes use of anecdotes by John Cage, who was a major influence as well as a collaborator of Paik. 　　Video Tape Study No. 3: Sound: David Behrman & Kenneth Lerner. 　　Beatles Electroniques: Sound: Kenneth Lerner. 　　Electronic Moon No. 2: Sound: Debussy.

日本の公衆浴場の一種である銭湯の水風呂に浸かりながら鑑賞するオーディオビジュアル作品。映像は３バージョンあり、テーマがそれぞれ「ゆらぎ」、「越境」、「浄土」となっている。自然から都市へと流れ込む水の流れと、銭湯内でお湯の浴槽と水風呂を交互に浸かる「温冷交代浴」を表現している。 　　This is an audiovisual work that can be viewed while soaking in a cold bath at a sento, a type of public bath in Japan. There are three versions, each with the themes of "fluctuation," "crossing borders," and "Pure Land.” These works express the flow of water from nature to the city, and are composed of images that depict people taking alternating baths in hot water and cold baths in public baths. 　　8mm film / digital, 5min30sec, color, sound, 2023 　　撮影 / 波田野州平 / 池添俊 　　編集 / 波田野州平 　　音 / 梅沢英樹 　　監督 / 池添俊

The original intention of the film was that there were four young people who used the lens to record the real life of their grandparents. During the creation process, they learned about the current aging situation in China. There are too many elderly people who lack company. So they decided Use what I have learned to shoot this movie "Everything is Like You". From the perspective of young people, it tells ten stories about "old care, filial piety and respect for the elderly". Their actions have been strongly supported by the older generation of film artists. This shooting is an unforgettable creative journey and a cultural heritage with a mission.

In order to celebrate the 20th anniversary of the Korean Film Academy, 20 of the academy's former students (who are respected director's today) were invited to shoot an omnibus movie consisting of 20 short films. Overall this work was very well received by the critiques at the 17th Tokyo International Film Festival. Films include Under a Big Tree, Sutda, Twenty Millimeter Thick, Innocence, *?!#@$ Up Shoes, Twenty Questions, The Twenty's Law, To the 21st, Pass Me and Alone Together.

In order to celebrate the 20th anniversary of the Korean Film Academy, 20 of the academy's former students (who are respected director's today) were invited to shoot an omnibus movie consisting of 20 short films. Overall this work was very well received by the critiques at the 17th Tokyo International Film Festival. Films include Under a Big Tree, Sutda, Twenty Millimeter Thick, Innocence, *?!#@$ Up Shoes, Twenty Questions, The Twenty's Law, To the 21st, Pass Me and Alone Together.

In order to celebrate the 20th anniversary of the Korean Film Academy, 20 of the academy's former students (who are respected director's today) were invited to shoot an omnibus movie consisting of 20 short films. Overall this work was very well received by the critiques at the 17th Tokyo International Film Festival. The films include Twenty, Secrets and Lies, Looking for Sex, Race, A Runners High, Neighborhood, My Baby, It's different On Mobile Queen, At 2 O'clock and Sink & Rise.

In order to celebrate the 20th anniversary of the Korean Film Academy, 20 of the academy's former students (who are respected director's today) were invited to shoot an omnibus movie consisting of 20 short films. Overall this work was very well received by the critiques at the 17th Tokyo International Film Festival. The films include Twenty, Secrets and Lies, Looking for Sex, Race, A Runners High, Neighborhood, My Baby, It's different On Mobile Queen, At 2 O'clock and Sink & Rise.

The visual accompaniment to Coldplay’s No 1 album Moon Music, created by over 150 different visual artists from 45 countries. Each artist was given a handful of music snippets from Moon Music and asked to create corresponding visuals. There were no rules or guidelines, and no knowledge of other artists’ creations.

Gil Oh-so, an employee at a cleaning company, meets Jang Seon-gyul, the boss of the company. The two are diametric opposite when it comes to cleanliness. With the help of Oh-sol, Seon-gyul faces his mysophobia and falls in love with her.