'Tiger Lives' was created as a work for broadcast to be presented worldwide on December 31, 1999. Slated to represent Korea in the Millennium Broadcast Project, this video reflects on the continuing violence between North and South Korea. It also reflects on the violence a stroke and related illnesses have had on Paik's own body. The disturbing image appropriated in this tape of two tigers viciously fighting is actually a well-known piece of footage in Korea. It was distributed in North Korea as propaganda aimed against the South. Additional scenes in 'Tiger Lives' include a Korean shaman's dance, 1970s tap dancers, Egyptian pyramids and other world monuments, a brief moment of commentary on the sound of one's own nervous system from John Cage. Paik's work has always aimed to bridge time and space. Through satellite performances he brought performers in New York, Paris and Tokyo onto the same video/television stage simultaneously. He projected images of Joseph Beuys while the Bad Brains shattered the sound barrier of the American Museum of the Moving Image, keeping Beuys' image alive to a new generation of hopeful radicals. In that 'Tiger Lives' may contain an underlying wish for the joining of North and South Korea, it was a wish that appeared very unrealistic at the end of 1999. Very recent changes in Korea's line of communication may see that wish as now possible. Structured around a series of "electronic rituals" 'Tiger Lives' combines classic Paik images with a new soundtrack as well as images of the artist at work in his studio, and in a musical duet with performance artist/soprano Tracy Leipold. Tracy performs "Sentinel" a car-alarm inspired aria by Fluxus artist Larry Miller while Paik runs counterpoint with a North Korean folk song. Paik slyly smiles even as he starts to cough from the exertion of keeping up with the younger vocalist. As many know, Paik was originally a composer and performer of experimental music. His videotapes became his compositions after the 1960s but a musical quality exists in all of his work. Paik has continued to perform live in the last years but these opportunities to see him on stage or in front of the camera get fewer and far between. Personally, seeing Paik perform a live tribute to John Cage in 1993 was when I first really understood the power of his voice and presence as a great artist. Working with Paik since 1991 has already offered a lifetime of experience and challenges. My own involvement with 'Tiger Lives' was as producer and composer. Nam June gave me a 'script' for 'Tiger Lives' which consisted of a scroll, written in Korean (which I cannot read) and a drawing of a tiger and of flowers. I tried to think about how David Tudor would receive one of John Cage's visual scores with minimal instructions and attempted to go to work with as much of a telepathic link as I could sustain. Seoungho Cho kicked in as an effects-worthy editor with the necessary cultural sensitivity. For the Millennium broadcast, I attempted to coordinate the delivery of videotape and excerpting directions to Korean television, who were then to work out details with the American and European stations. Our (Paik's studio) understanding was that at least 6:00 of the tape would be aired and with complete credits. In full Fluxus fashion, the broadcast was a sea of confusion and lasted only 2:00 minutes. Our U.S. star anchorman managed to call the president of South Korea "a local newscaster," Paik's name was omitted and he was reported as a video artist performing live in Seoul. In fact, he was happily watching the broadcast, featuring his pre-recorded segment from his home in New York – with his wife Shigeko Kubota and nurse Steven Jallim – going to sleep at the boring parts, waking up to make swirling drawings of mountains, flowers and flying school buses and always, planning the next project.
Nam June Paik, 1932, Seoul (South-Korea)
Lives and works in New York (USA)
– Stephen Vitiello |
Editing:  Seoungho Cho
Camera: Roberto Guerra
Music, production: Stephen Vitiello
With: Nam June Paik, Tracy Leipold
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