'Muntadas Video Works'

‘Muntadas Video Works’ intersects with Machan’s study into aesthetic strategies in the history of Video Art and the approach to the medium. Since the Sony ‘Porta Pak’ portable video recorder was invented in Japan in 1965, artists on every continent gained access and have contributed to the development of this international artistic medium. The emergence of Video Art is well documented in Europe and North America, however little focus has been given to the experiments that emerged across East Asia and beyond the well-known contribution of the most famous pioneer in the field, Nam June Paik (1932-2006). The history of video art is not complete and many critics say that because of the diverse nature of the medium that it is an impossible task. However, by considering these problems I propose an aesthetic approach revealing the critical role of medium in the development of Video Art as a temporal, and spatial medium with inherent qualities beyond the cinematic and narrative. Through referencing both Clement Greenberg and Rosalind Krauss’s debates on medium, I will argue that there has been a marginalisation of the medium that can be tracked through globalisation and the expanding power of the art market on the one hand, post-modern inclusiveness and uncertainty, on the other.

'LANDSEASKY: Revisiting Spatiality in Video Art', 2014

OCAT Shanghai