What is video-art?

A "beyond" static painting, a "moving painting", related to the concept of "installation": occupying all available space, be it physical (gallery or museum) or visual (movie or TV screen).

Video-art is in our life. Sometimes casually, like that permanently on television that no one pays attention to, sometimes through advertising, which increasingly uses groundbreaking language and brutalist formats, such as video walls in buildings. Formats and languages that were science fiction in "Blade Runner" filmed in 1982.

Last century, the 1960s. Along with the appearance of groundbreaking social and artistic currents and movements, television became popular, a new and relatively cheap (compared to cinema) means of expression. If before, experimental film creations were focused on the world of animation (Article about experimental Soviet experimental animation of the 1930s), double or triple exposure or direct intervention on the developed film, television provides a new way of approaching the creative process. The electronic manipulation of images enables immediacy in results and infinite possibilities of intervening in the process.  

As the song said: “the future is already here!” (Although the title might indicate otherwise, the song was by the Spanish pop group: Radio Futura, not by the Italian "futurist" Marinetti...)

Here is a non-exhaustive sample of some interesting things from precursors of current video art. None of which has been made with electronic means, only assembly or direct intervention (painting) on celluloid.

Norman McLaren, one of the pioneers of experimental cinema, especially for his performance, via painting or scraping, directly on celluloid. He also intervenes on the light soundtrack (of 35mm films) scratching it and thus creating fascinating electronic effects.

BEGONE DULL CARE (1949) Evelyn Lambart y Norman McLaren pintan directamente sobre el celuloide una abstracción gráfica de la música del trio del pianista de jazz: Oscar Peterson.

PAS DE DEUX: (1968) Un gran ejemplo de filmación en celuloide, jugando con superposiciones de distintas tomas. Un mundo hipnótico de movimiento y luz. Bailarines: Margaret Mercier y Vincent Warren.

Peter Tscherkassky, basically works with “found material”, that is, celluloid cutouts discarded in the final film montages. His cinematographic practice involves meticulous manual copying work in the darkroom. Creator of a language focused on montage, he endows his videos with a frenetic rhythm, sometimes related to video games.

Three very interesting sources on video-art, which you can access by clicking:

Why is video the art form of the moment?

Summary of Video Art

Video Art Database