Jeong Jeong-hwa Solo Exhibition, In Search of the Letter Swallowed by a Ghost II

Video art emerged in the 1960s. In 1963 Nam June Paik, born in Keijō (today's Seoul), held Exposition of Music – Electronic Television at Galerie Parnass in Wuppertal, Germany, scattering television sets through the space and distorting their images with magnets. Since then the screen has grown from the television set to projection, multi-channel installation, and LED, and the image is no longer only recorded footage: works by Kim Heecheon such as Cutter 3 are built in the game engine Unity and play on their own, computed in real time from input values. Such works often have no actors, dialogue, or plot, and need not have a beginning or an end; the label usually gives the running time and the number of channels.

Find the running time and number of channels on the label first, then decide where to stand and how long to stay.

• Media art and video art メディアアートとビデオ・アート→Same topic in Tokyo

Installations are often made for a particular site, and visitors move within them, so where your body stands is part of the looking. The materials can be everyday objects, fabric, video, or sound, and a work may be taken down after the exhibition and never shown again. The term first appears in writing in 1969; earlier, in 1958, Allan Kaprow called the indoor spaces he transformed “Environments.” Do Ho Suh's Seoul Home (1999) is a life-size replica of his childhood home in Korea in polyester fabric and silk on thin metal rods; it folds up for transport, and each time it moves to a new city, that city's name is added to the title.

Look from several places, outside, inside, and from a distance, and notice how the light, the sound, and your path change.

• Installation art 裝置藝術→Same topic in Taipei
• Installation Art インスタレーション→Same topic in Tokyo