The purpose of this study is based on Nam June Paik’s first solo exhibition, entitled ≪Exposition of Music-Electronic Television≫ which was held in 1963 at Galerie Parnass in Wuppertal, Germany. This was Paik’s first exhibition on the work of electronic television. Furthermore, this exhibition has provided the initial point of Video Art and that counts as an important meaning for researching Paik’s works. In 21st century many art museums are attempting to reproduce Paik‘s first exhibition itself. For this point of view the purpose of this study is focusing on the exhibition installation and its effects of the ≪Exposition of Music-Electronic Television≫. Paik has solely organized and directed this ≪Exposition of Music-Electronic Television≫ and also designed the poster. At Galerie Parnass Paik had made the exhibition with operated electric television, scenarios staged with prepared piano and mechanical sound objects along with record players and audio tape installations. Through this exhibition it turned the space of exhibition into an art work. The audience could freely experience the individual spaces which holds its own characteristics by operating the installed art works. All the different materials and physical effects installed in different rooms, all kinds of objects making sound or noise, and furthermore the works that needed audience participation have shown that characteristics of Paik’s major interest about the ‘space’, ‘sound of everyday life’, and ‘Audience participation’. Moreover, Paik has directed this ≪Exposition of Music-Electronic Television≫ not only dependent on standardized visual part but also multilateral experience approach for open exhibition. Paik’s intention for his exhibition was that the audience could be free inside exhibition space and this intention aroused the unknown artist Joseph Beuys to have spasmodic happening performance in his show. Joseph Beuys have smashed the lying piano on Paik’s show through this performance and Paik was satisfied with Joseph Beuys’s unforeseeable performance. This performance was not only about wrecking the art work but rather ‘homage to Nam june Paik’. For this kind of exhibition circumstance, Paik has made the television which was the linear communication with the audience to the ‘art work that is completed by the audience’. The passive viewers of television have become active viewers through making sound in front of television or operating the images with the sound volume while they are participating on Paik’s exhibition. Moreover, Paik has transformed the main classical instrument piano to attempt Art as a ‘playful’ thing, which was a priority only for the privileged classes. ≪Exposition of Music-Electronic Television≫ was Paik’s unique exhibition that holds ‘space and the sound’, ‘audience participation’, ‘experimenting new medium’. Paik has made the exhibition space as a one united space environment and did not segregate the ‘Art and everyday life’ and ‘Artist(subject) and Audience(object)’ which have made ‘space’, ‘audience’, ‘new medium’ as an Art.

Ⅰ. 서론
 Ⅱ. 공간의 작품화
  1. 전시장 : 주거공간의 활용
  2. 백남준의 작품이 된 갤러리 파르나스
 Ⅲ. 관객의 참여가 가능한 열려있는 전시
  1. 다양한 감각을 일깨우다
  2. 관람객의 동화(同化) : 요셉 보이스의 돌발적 행위
 Ⅳ. 결론

• 한지숙(숙명여자대학교) | Han Jisook