Video art, like any other form of art, is closely linked to contemporary technologies, both for production and for the re-production of works. In the words of Nam June Paik, “whitout electricity can be no art”.
Video art is also the daughter of technology, and its birth is linked to the advent of portable video recording and recording equipment.
This close link between video art and technology has largely also determined the spatial relationship with video art; in common perception, it is linked to the instrument of reproduction — the CRT TV, at its beginning, and then gradually CRT monitors, video projectors, ultra-flat plasma screens…
But in fact — and since its inception — video art has tried to escape the two-dimensionality, and to invade the surrounding space. And there are many artists who, through the practice of video installation, have traveled the road that leads to the conquest of the third dimension; from Vito Acconci to Chris Cunningham, from Bruce Nauman to Tony Oursler, to Nam June Paik, Pipilotti Rist, Bill Viola, Wolf Vostell…
(The text of the introductory speech I gave to Macro (Museum of Contemporary Arts in Rome), on the occasion of seminar meeting of Macro-scopio, on theme 'Videoart and exhibition space')
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(2018-11-08)
medium.com

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