Video Art

出自 台灣當代藝術資料庫 TCAA AVAT 社團法人中華民國視覺藝術協會
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Context and Introduction

The origin of Taiwan’s contemporary video art, if we put it in the context of European and American contemporary art, can be traced back to the 1950s when the German artist Wolf Vostell and the Korean American artist Nam June Paik – under the influence of Fluxus, started to use experimental images and sounds as the materials of their artistic practice. In the August of 1984, the very first video art exhibition “The French Video and Visual Art Exhibition (法國錄像視覺藝術展)” took place at Taipei Fine Arts Museum. Essentially speaking, the form of video art greatly depends on the technique. As the technological support of video art or photography is further improved, the expression and the application of the form can be far more extensive. Video art, as a form of arts, serves more than the documentation of images but reveals more messages when the concept of “time” is included. Moreover, the montage-like technique separates images from time or switches these two elements, presenting a unique visual atmosphere in the images. In addition to the form of the video work itself, sometimes it is installed with the space or a whole installation. The video artworks created by Taiwanese artists are full of variety and multiplicity, while the uniqueness of form itself indeed expresses its own artistic vocabulary.

The Outline of the Database

The first stage of the video art database focuses on single-channel video artworks and we will extend it to multi-channel video artworks in the next stage. The works included in the database are mostly single-medium works which adopt “video” as one, or the only one, expressive style and use the image as the main content.

As for video installations or interactive video installations, since “video” is just one of the elements which cannot completely express the full concept of the works, we do not include these two categories in the first stage. As for animation video, since it is represented in single-channel or multi-channel form with “animation” as its expressive style to demonstrate the content, we will include this category after evaluating each work’s author, the work itself, and the artistry expressed within. Video documentation only uses video as a form to document. If it has nothing to do with the subject of the artistic concept, we will not include it in the database. The first stage of the video art data selects the complete data of 25 artists as the samples in the preparation period. Multiple keywords related to the artists and the artworks simplify the whole search process to find all the information needed.

Information Categories (1) Written description/Resume, main subjects, artistic concept, description of artworks, artist statement, and critiques.

(2) Still images/Photos of artworks, the making of artworks, and exhibitions. (3) Video/Selected part of the video work, the complete video art, video documentation of the making of artworks, and related interviews. (4) Documents/Manuscripts, storyboard, objects, and etc.

Coverage (1) Artists (resume in both Chinese and English, artist statement, critiques, video, photos, interviewers, documents of the art-making process, manuscripts, related objects, and etc.)

(2) Art Festivals (organization, development, and the content of each edition).

Artist List

So far, the information about these five art categories included in the database is merely the preliminary results. The content will be expanded after a longer period of time.

See also

Video art is a type of art which relies on moving pictures and comprises video and/or audio data. (It should not however be confused with television production or experimental film.)

Video art is named after the original analog video tape, which was most commonly used in the form's early years, but before that artists had already been working in film. With the advent of digital technology (Hard Disk, CD-ROM, DVD, and solid state) this superseded tape but the electronic video signal remains the carrier of moving image work. Despite obvious parallels and relationships, video art is not experimental film.

Video art came into existence during the early 1960s and early 1970s as the new technology became available outside corporate broadcasting and is still practiced and has given rise to the use of video installations. Video art can take many forms: recordings that are broadcast, viewed in galleries or other venues, or distributed as video tapes or DVD discs; sculptural installations, which may incorporate one or more television sets or video monitors, displaying ‘live’ or recorded images and sound; and performances in which video representations are included.

One of the key differences between video art and theatrical cinema is that video art does not necessarily rely on many of the conventions that define theatrical cinema. Video art may not employ the use of actors, may contain no dialogue, may have no discernible narrative or plot, or adhere to any of the other conventions that generally define motion pictures as entertainment. This distinction is important, because it delineates video art not only from cinema but also from the subcategories where those definitions may become muddy (as in the case of avant garde cinema or short films). Video art's intentions are varied, from exploring the boundaries of the medium itself to rigorously attacking the viewer's expectations of video as shaped by conventional cinema.

Traditional Chinese version