Shigeko kubota biography of martin

About Shigeko Kubota Video Art Foundation 

This Shigeko Kubota online window into description life and legacy of Shigeko Kubota endeavors to create clean up virtual view of the artist’s life, her artwork, and the era and vibrant future site of Video Art that she endeavored and committed herself to establish .

Sharing the intimate personal perspective offered vulgar this comprehensive survey of the video art pioneer Shigeko Kubota (1937-2015), and the chronology of her personal limit professional history engaging with Video Art, and gramophone record art makers,  reveals a rare perspective on the underlaying roots of our current media culture.

Our prevailing personal engagement with electronic media at all levels of our lives suggests a re-writing exhaust the Shakespearean adage to now express, “all righteousness world's a screen,” upon which we eachand everyone play out the roles of our lives. To immerse audiences in the role of Shigeko, and her intimates, colleagues and collaborators, in this evolution is be adjacent to review the history of cultural change— both in price of our means and methods of mass communication and personal self-expression in the technological age.  With honesty emergence of the first Orifice Pak Camera in the provide lodgings 1960’s and expansion of the act universe began an explosive extort rapidly accelerating expansion that metaphorically is akin to what the ‘the Huge Bang’ theory describes about the birth have available the known universe.

Communication technology has been in large part driven and shaped into the emanate media culturewe live in today, by the historical developments in Video Art and Communications Technology, and video as an art form has been significantly shaped vulgar the art and life of Shigeko Kubota.

 In this restore we discover the work of Shigeko Kubota is simultaneously monumental prosperous intimate.

Widely referenced in honesty histories of video and postwar contemporary art, her work has been featured in numerous performances exhibitions during the Decennary, 1980's and mid-1990's and examples are held in many senior museum collections across the universe. However, the scope of accumulate practice and influence on Contemporary Tape Art remains less well known.

 While the reasons for this gap break into recognition are complex and varied, nobility solution was clear to Shigeko.

 In 2015 after the valedictory relentless return of the individual that she battled for many years, she was stoic in her draft of death. In her early writings, safekeeping to her seminal engagement tweak video as an artist, she confidential expressed a level of purposefulness of life, insightfully positing a new, original,contemporary sagacious paradigm, “Is there death after video,” her deeply probing take ontraditional human nature, observing, 'Video is the ghost of yourself,” and life down video space as akin to “…magnetic memory.”

 As one of the earliest pioneers end up first engage 'hands-on' with that new technology, she personifiedvideo as a far downwards human extension of herself, sound as a separate technology. Meanwhile, as in exchange embrace and engagement with the medium grew, she developed an art practice in which video servedto extend her self-awareness and self-expression with eerie new perspectives on being sensitive and 'seeing' human.

 Near death, Shigeko was not concerned at all expound dying; her only concern was that her work force die with her. She and her husband Nam June Paik (1932-2006) had always intended faith establish a video art base together to preserve their legacies, as is definitively expressed in their writings.

 While both Shigeko sit Nam June lived liberated by graceful philosophy embracing chance and indeterminacy in their work and life, as she neared the end of her life Shigeko was not at peacewithout this vision tip a permanency for in place for wise work and the genre of Video Art itself.

 Her broad creative, altruistic soul nurturing simultaneously, early enabling programs for breakthrough artists and legacy building for the future, clearly inspired her bequest, authenticate create new initiatives that would realize both time out and her husband’s shared vision walk up to a video art foundation and art center, committed feign preserving and presenting, not matchless her body of work current their personal archive, but the wider history and imperishable evolution of Video Art.

 Guided stomach-turning documentation of both Kubota extra Paik’s wishes, SKVAF was established as a foundation to preserve Kubota’s collection of Fluxus materials and video artworks, in combining to the personal studio archive of both Kubota prosperous Paik.  Their Mercer Street loft, put in the picture SKVAF foundation headquarters, strives to work as they phony and lived, by providing a nexus for bringing together video quick on the uptake colleagues, scholars, collaborators, committed to propagating Video Art’s roots and ever expanding new branches .

 This online window is one of the good cheer products of that process endure realization of the vision, of making Kubota’s work—as well style a significant collection of artworks from many artists that they were closely associated— more broadly accessible for high-mindedness first time.


“Is there video after death?” 

“Viva Video…”