Past Artists
UNIT 35 L01
Video
Installations
Video installation is a art
form that combines video
technology with
installation art, making
use of all aspects of the
surrounding environment
to affect the audience.
Tracing its origins to the
birth of video art in the
1970s, it has increased in
popularity as digital video
production technology
has become more readily
accessible. Today, video
installation is ubiquitous
and visible in a range of
environments, from
galleries and museums to
an expanded field, that
includes site-specific work
in urban or industrial
landscapes.
Popular formats include
monitor work, projection,
and performance. The
only requirements are
electricity and darkness.
Within video installations
it is easy to define
narrative and non-
narrative arts. The
narrative arts tell a story
and the non-narrative arts
do not.
as the contemporary creating his installation,
artists. But I like how the
David Hall and Tony
Sinden was pioneers of
televisions arch round to
enclose you within the
video exhibitions. Here visuals and change in
they have exhibited the sounds.
first multi-screen
installation in Britain, 60
TV Sets, at Gallery House
London in 1972.
Subsequently British video
Mounted on building
installation developed a
scaffold around a room
distinctive pattern
they are tuned to various
following the seminal
TV channels with the
international Video Show
sound volume very high.
at the Serpentine Gallery,
London in 1975.
I believe David Hall
and Tony Sinden
motivation was to
experiment and be
influential, as they
were creating a new
concept not yet
presented before.
Alike David and Tony
Gallery House London
I would also love to
1972
be as creative and to
attempt to create a
Some of the 60 old TV
new concept of my
receivers operate
own in my exhibition.
normally; some distort,
'flash', or show a picture
Contemporary Artists
only intermittently, others
operate sound only. This Olivier Ratsi is a very
is similar to David Halls contemporary video
style of distorted flashy practitioner from France.
video installations. I Ratsi says the viewer must
believe there was no be in a specific spot to
narrative, as they were reveal a new dimension,
achieving to distort on such video installations
opposed to symbolise a such as his famous Onion
deeper meaning. The Skin. I like Ratsis vision as
location had space has he has thought about his
audience in mind when
not been as thought out
and create a new
so by standing in a specific
space you will see his art
in a different way. This
positioning of audience is
definitely something that
has inspired me to evolve
for my own installation.
Ratsi has a very specific
style and he prides
himself on creating 3D
illusion effects.
Oaxaca, Mexico 2013
The way the projectors
are positions allows you
to view the projectors in
front of you but also
around you, so the lines
can flow past your center
of vision, drawing you in.
His videos do not follow a
narrative. The audience of
Ratsis works our art
enthusiasts, male and
female aged 22-30. Not
for anyone with epilepsy, I
believe its also clear to
say there is no narrative
used; Ratsi is aiming to
achieve effects rather
than to communicate with
his audience.
I believe Olivier Ratsi
motivation and goal was
to immerse his audience
interactions and the
perspective of video. structures in which they
The Urban Video
are enacted. Having a
meaningful narrative is a
Collective is a project feature I will definitely
team of the Vancouver look to add in my own
Design Nerds Society, a video installation. I
not-for-profit believe their style is using
organization. Since 2005 colourful projections, with
the Nerds have been deeper meanings than the
undertaking various public aseptically pleasing
art and design projects
appearance.
and multi-channel video
installation works. During Specializing in site-specific
the Illuminate Yaletown video installations, they
large-scale, 5-channel create work that
video installation integrates with the built
projected onto the environment and
Hamilton Street windows. responds to social,
During a 20-minute loop, historical and
the entire production and architectural contexts in a
sales chain of Tuckfields manner that is both
detailed handcrafted playful and insightful.
manufacturing were
played across several The factory was created
adjacent windows of a through getting
building front. permission to set up in
the buildings block on
Holmer St, so that the
audience can view from
the street. This is very
important in reinforcing
their social connotative
morals as its set in a
factory building. I believe
Illuminate Yaletown 2011
their motivation came
festival
from just passion to be
Utilising a spare, creative and have fun.
cinematographic narrative They dont receive any
structure, the piece money from their work so
investigated the mutually I imagine they create their
formative relationship videos for the love of the
between social art.