The video art was first made in the West in the early 1960s. Indian artists started to experiment with the medium in the 1990s. It can be best denoted by what it’s not – in a nutshell, it’s different from cinema. The key difference doesn’t lie in technique or technology but in structure and implicit sensibility.
The aesthetics depends to an extent on fiddling with, and also upending the rules of the art of film-making. Its uniqueness is blurring the boundaries between short films, documentary, film, home video, mobile cameras etc. According to renowned curator JohnyML, video is a democratic medium since you don’t need a gallery and you can disseminate your work with YouTube and blog.”
On the other hand, curator of ‘Still Moving Image’ Deeksha Nath emphasizes that video art tries to undermine the characteristics of cinema and photography, destabilizing the defining moment and also narrative story telling. In fact, many established and upcoming artists from India are looking to break into new vistas of expression so as to share their socio-political concerns in a new idiom, which is their very own.
For this, they are engaging with a spectrum of new media, encompassing video and performance. At times, the presentation is distinguished by its matter-of-fact trait, reflecting embodiment of truth as it’s evident in the image’s very materiality and structure.
Shilpa Gupta, Ayisha Abraham, Ravi Agarwal, Amar Kanwar, Raqs Media Collective, Abhishek Hazra, Tushar Joag, Sonia Khurana, Reena Saini Kallat, Kiran Subbaiah, Tejal Shah, Ashok Sukumaran, Baptist Coelho, Nikhil Chopra, Sunil Gupta, Vivan Sundaram, Subodh Gupta, Ranbir Kaleka and Nalini Malani are among those who deal with specific social and human issues.
Aditi Chitre, Iram Ghurfan, Gigi Scaria, Kavita Singh Kale, K.M.Madhusudhanan, Neha Thakar, Pooja Iranna, Riyas Komu, Samia Singh, Srinivas Bhakta, Navjot Altaf, Mithu Sen, Sonia Mehra Chawla, Jitish Kallat, Vidya Kamat and Bose Krishnamachari are other noteworthy names.