'Repeat, Relate – Reflections on the ongoing performativity of video works as a form of cultural-analytical narration' by Sigrid Adorf

Early video art was characterized by experimentation with the possibilities of the new technology.

by Kristina Lutscher

Whenever an artist brings himself into the picture, stages or projects himself, the scene becomes a disquisition about his person.

by Birgit Bertram

From the very beginning of video art at the end of the 60s/the beginning of the 70s, it became clear that this fresh medium gave rise to a very strong response on the part of female artists, offering as it did the possibility to work as an artist outside the classical, male-dominated media such as painting and sculpture.

by Lilian Haberer

The open semantics of the term screen, which describe not only the surface, but also the interface, shelter or shield, and the various functions of display, from its use as filter or protection, to the transmission or translation of analogue and digital video-information [1] is conducive to the multiple projection of images in the exhibition space.

by Philipp Scheid and Johanna Hoberg

›Landscape‹ in moving images - what is it and how does it function? Is it merely a natural backdrop or does it occasionally provide us with something more than the picturesque setting for a film? Can landscapes themselves therefore be treated artistically?