Videokunst

Videokunst, or video art, is an art form in which video technology and the moving image constitute the central medium. Time-based by nature, it encompasses single-channel works, multi-channel installations, video sculpture, and interactive pieces. The term is used worldwide, with Scandinavian usage often spelled videokunst, reflecting its adoption in Denmark, Norway, and Sweden.

Origins emerged in the 1960s as artists began using television and videotape outside traditional broadcasting to probe perception, memory, identity, and social commentary. Pioneers such as Nam June Paik, Wolf Vostell, and Vito Acconci demonstrated how monitors, cameras, and editing could transform everyday media into art and critique mass communication.

Forms and techniques vary widely. Works may be shown on a single screen or integrated into immersive installations with multiple monitors, projections, and sound. Artists manipulate time, rhythm, and editing, incorporate live feeds or performative elements, and sometimes reuse found footage or archival material. The medium increasingly blends with digital video and multimedia technologies.

Context and reception: videokunst sits at the intersection of contemporary art and media theory. It often engages with surveillance, consumer culture, memory, and global exchange. Venues include museums, galleries, artist-run spaces, and public spaces. Conservation poses challenges due to evolving formats, equipment, and media obsolescence.

Notable figures associated with videokunst include Nam June Paik, Bill Viola, Pipilotti Rist, Shirin Neshat, Hito Steyerl, and Douglas Gordon. The form continues to evolve with new media developments, such as online video platforms and immersive, interactive installations, broadening its reach beyond traditional art settings.