Anurag Khanna unravels the phenomenon of Video Art / 16.09.09
You walk into a room only to be captivated by a screen, actually tens of them, simultaneously projecting images which seem to be telling some kind of a story. Only you are not in a cinema hall, nor in a make-shift theatre. You are in fact in a gallery space where the artist has used projected moving images rather than paint on a canvas to create an evocative work.
This is Video Art.
To put it simply, video art is an art-form which involves moving pictures or images which are played in a continous loop. A video-work could be based on a formal script with actors performing in a studio or on an outdoor location but it could just as easily be an assemblage of seemingly random, abstract imagery. Video art is not the same as cinema though there may be some overlaps between it and short films or avant-garde cinema. The aim of cinema is largely entertainment-oriented whereas video art has a broader profile. It may be used as a medium to present profound or subtle visuals, document a performance or even bring real situations to our attention: it may thus have a strong social, political or physiological relevance in our lives. The presentation of video art within the white cube setting of a gallery also separates it from the traditional cinematic experience. Though there is a defined opening and ending point for the video, patrons can enter and the leave the viewing premises at anytime.
The origin of video art is attributed to Nam June Paik, a Korean-born American artist who is largely regarded as the father of this movement. He made his first film in 1965 in New York when he documented the motorcade of Pope Paul VI with the help of a Sony Portapak, the first portable video recording device. He then played the tapes in a cafe the very same evening, thus giving birth to video as a medium of art. Please remember that this was decades before the advent of the personal handycam that we all are familiar with. Video recording equipment was the exclusive domain of film and documentary technicians and it was revolutionary for an artist to explore and use this as a medium to express his thoughts.
For Paik, the TV screen was a canvas and his camera, a paint brush. He later went on to produce huge installations with multiple TV screens giving a whole new dimension to video. Throughout the 1960s and decades to follow there was a lot of experimentation and growth in this medium all over the world. Other artists of significance from this period were Andy Warhol, Bill Viola, Bruce Nauman and Gary Hill amongst others. In the Indian contemporary art context, I would say the leaders were Nalini Malini, Ranbir Kaleka and Navjot. All three of them have contributed significantly in introducing Indian art-lovers to the joy of appreciating video art.
Technological developments have helped this medium become more acceptable to both, artists and collectors. Video art was initially shot using a black and white super 8 mm film which was a very crude format apart from being tedious to use and view. Improvements in technology led to the introduction of 16 mm & 35 mm films which helped in capturing images and movement in a better, more realistic way. The storage media also improved significantly with the introduction of CDs, DVDs and Digibita technology. This continuous technological development helped increase the longevity of this art form, by offering artists the confidence to experiment with the medium while encouraging collectors to acquire and enjoy the piece without being overtly concerned about its display quality and permanence.
Aesthetically and in context of substance, I consider video art to be a beautiful as well as powerful medium. While at present, videos in India are generally offered in limited editions of three, five and seven, it is yet to acquire a stature similar to that of paintings and traditional mediums. I have no doubt that in a few years from now video art in the country will acquire the status it truly deserves.
In the western context, video-works are considered an essential and integral part of the art movement. Most important collections, both private and public, recognise the importance of this medium and actively add important video works to their collection. Of late, there has been an increase in the dialogue around works of historical importance as well as interest in works of rising contemporary video artists. The demand for this medium is clearly growing. Art in India is slowly but surely moving beyond just the canvas. Literally.
I will discuss some of my favourite video works in a piece to follow. Please stay tuned.
Anurag Khanna is amongst the leading video art collectors in India.
POST A COMMENT
