Are you an EPFL student looking for a semester project?
Work with us on data science and visualisation projects, and deploy your project as an app on top of GraphSearch.
Concept
Video installation
Summary
Video installation is a contemporary art form that combines video technology with installation art, making use of all aspects of the surrounding environment to affect the audience. Tracing its origins to the birth of video art in the 1970s, it has increased in popularity as digital video production technology has become more readily accessible. Today, video installation is ubiquitous and visible in a range of environments—from galleries and museums to an expanded field that includes site-specific work in urban or industrial landscapes. Popular formats include monitor work, projection, and performance. The only requirements are electricity and darkness.
One of the main strategies used by video-installation artists is the incorporation of the space as a key element in the narrative structure. This way, the well-known linear cinematic narrative is spread throughout the space creating an immersive ambient. In this situation, the viewer plays an active role as he/she creates the narrative sequence by evolving in the space. Sometimes, the idea of a participatory audience is stretched further in interactive video installation. Some other times, the video is displayed in such a way that the viewer becomes part of the plot as a character in a film.
A pioneer of video installation was Korean/American Nam June Paik whose work from the mid-sixties used multiple television monitors in sculptural arrangements. Paik went on to work with video walls and projectors to create large immersive environments. Wolf Vostell is another pioneer of video installation. He showed his 6 TV Dé-coll/age in 1963 at the Smolin Gallery in New York.
Other Americans include Bill Viola, Gary Hill and Tony Oursler. Bill Viola is considered a master of the medium. His 1997 Survey at the Whitney Museum in NY, along with the 1994-95 Gary Hill survey created by the Henry Art Gallery, Seattle, and traveling to Philadelphia, New York, Los Angeles and Kansas City, amounted to a watershed mark in the history of video installation art marking both a period on the sentence of the first generation and a beginning of the next.
Official source
About this result
This page is automatically generated and may contain information that is not correct, complete, up-to-date, or relevant to your search query. The same applies to every other page on this website. Please make sure to verify the information with EPFL's official sources.