During the 1960s a new art form began to emerge, an artistic technique that did not require much experience, since the supports were precarious and limited. This new discipline opened up new forms of expression, amalgamating artists from different fields and disciplines, such as dance, music, performance...  

The combination of new artists coming from different backgrounds leads to a big debate, blurring the limits and boundaries of what video art is. For example, the Tate Modern Museum defines video art as “Art that involves the use of video and/or audio media and is based on moving images”. This definition offers us a wide spectrum of artists investigating this “new” technique. From those who record performances to those who work exclusively in the cyber world, to those who use video as a complement to their entire artistic project.

Tate Modern Museum defines video art as “Art that involves the use of video and/or audio media and is based on moving images”

Important artists such as Andy Warhol, Nam Jun Paik or Bruce Neuman began to use this technique as a way of experimentation, establishing the foundations of video art. An example of this is the work by Nam June Paik (1932, Seoul - 2006, Miami), when he presented “TV Buddha” using a video camera that transmitted the image taken by the camera in real time on television. Another example is the work “Zen for TV”, in which the artist presents a television set showing the image of a converging line in the center.

Seen from another perspective, Andy Warho (1928, Pittsburgh - 1987, New York) produced works such as “Blow Job” and “Sleep”. Through expressions and body language, Warhol effectively communicates erotic situations using visual metaphors. These works illustrate the voyeuristic tendencies prevalent in the postmodern world, heavily influenced by the elements of mass communication.

These works illustrate the voyeuristic tendencies prevalent in the postmodern world, heavily influenced by the elements of mass communication.

With an experimental perspective, we find the case of Bruce Nauman (1941, Fort Wayne, Indiana). Nauman recorded himself using a simple camera, exploring how the medium could interact with the message. He made a series of performances in his studio in which the body served as the medium, using the camera to materialize the process of performance. Works such as “Dance or Exercise on the Perimeter of a Square (Square Dance)” or “Pacing Upside Down” exemplify this process.

The work “Consumer Art” by artist Natalia LL (1937 - 2022, Poland) is also notable for its exploration of the semiotics of sexism and hypersexualization, offering a fierce critique of pornography and sexual language. The work presents a video in which the artist consumes food in the form of phallic symbols in a mannered or exaggerated style.

An exploration of the semiotics of sexism and hypersexualization, offering a fierce critique of pornography and sexual language.

In this article on video art, it would certainly be a mistake not to mention one of the most important artists of the century and one of the greatest exponents of video art: Bill Viola. His work not only captivates us with its thematic depth, but also amazes us with its technical achievements. Pieces such as “The Reflection Pool”, in which several images are juxtaposed to create a sensation of temporary suspension, are a challenging experience for the viewer's perception.

Beyond “The Reflecting Pool”, Bill Viola (1951, New York) continues to investigate the properties and limits of video as an art form. He not only conveys messages through the medium, but also delves into the medium itself, exploring its capabilities and limitations. His ability to use video not only to communicate, but also to reflect on the essence of the medium itself, demonstrates his deep knowledge and mastery of this art form.

His ability to use video not only to communicate, but also to reflect on the essence of the medium itself, demonstrates his deep knowledge and mastery of this art form.

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Although not all the artists who have worked in video art are presented here, there is a varied range of artists who have left their mark on the medium, either as referents or as masters of it.

Finally, there are two contemporary artists whose works deserve attention. First, Dimitris Papaioannou (1954, Athens) and his latest work “Inside”, where the artist captures a simple room inhabited by two individuals throughout an ordinary day. In the work there is only a bed, a large window that lets you see outside and a shared bathroom.

On the other hand, there is the contemporary artist Agnes Questionmark (1995, Rome), who presented her work “Cyber-Teratology Operation” at this year's Venice Biennale. An installation that combines video art and sculpture. Agnes Questionmark, an emerging artist, pushes the boundaries of the body, sexual identity and biomorphic forms, challenging perceptions of what the human being is or could be.

Agnes Questionmark, an emerging artist, pushes the boundaries of the body, sexual identity and biomorphic forms, challenging perceptions of what the human being is or could be.

In conclusion, video art is a dynamic and multifaceted medium, shaped by the innovative contributions of artists of all generations, each one pushing the boundaries of expression and challenging our perception of art and humanity.

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