Adelic Penguins

In his book "1984", George Orwell saw the television of the future as a control instrument in the hands of Big Brother. Right at the start of the much-anticipated Orwellian year, Paik and Co. were keen to demonstrate satellite TV's ability to serve positive ends-- Namely, the intercontinental exchange of culture, combining both highbrow and entertainment elements. A live broadcast shared between WNET TV in New York and the Centre Pompidou in Paris, linked up with broadcasters in Germany and South Korea, reached a worldwide audience of over 10 or even 25 million (including the later repeat transmissions).

A compilation of avant-garde artwork and talent of the mid to late 20th century hosted by Ryuichi Sakamoto.

Video art show presented at the 1991 Broadcast Designers Association convention. Includes work from: Robert Ashley, Robert Breer, Peter Callas, Christen Clark, Sumit Das, Ed Emshwiller, John Hart, Jon Klein, Lyonel Kouro, Maureen Nappi, Paul Garin, Amy Greenfield, Nam June Paik, Mark Pellington, M. Rawlings, John Sanborn, Dan Sandin, William Wegman, Dean Winkler. Major contributions include "MAJORCA-fantasia", "Sunstone", "Welcome to My Living Room" and "Neo-Geo: An American Purchase", as well as excerpts from "Perfect Lives".

From suspected arson to illegal evictions, Paul Garrin’s documentary follows two years of police harassment of unsheltered people in Manhattan’s Lower East Side, as well as acts of protests and resistance in the fight for housing justice.

Analog video art by Paul Garrin with Ryuichi Sakamoto

One of Paik's most compelling and poignant tapes, Living with the Living Theatre pays tribute to Judith Malina and the late Julien Beck, founder of the Living Theatre. Reversing the theme of the earlier Allan 'n' Allen's Complaint, which dealt with two artists and their relationships to their fathers, Paik explores Malina and Beck's relationship to their children. Interviews provide the memories of actual lives lived together, while Betsy Connors' animated sequences transcend the specific to suggest the universality of childhood. Garrin and Paik edit these elements into an electronic synthesis that is at times dizzyingly psychedelic and always affectionate towards its subjects. Infused with personal and cultural memories that evoke time and place — Janis Joplin concert footage, Living Theatre performances — Paik creates a haunting and deeply moving homage.