Video art history and curatorial work
2023 September 15., Friday 10:07.
Prof. Vera Carmo, Universidade da Maia, Portugal – Renowned lecturer in fine and cinematographic arts, experienced in independent curatorial activities. During her exchange she introduced students to the relationship between video and art through a definition of the concept of Video Art and an exploration of early Video Art works. From the rise of video installations to curatorial issues, the course also provided insights into the world of the most revolutionary Video Art exhibitions.
What inspired you to delve into the world of video art, and can you share a personal anecdote or experience that truly ignited your passion for this medium?
During my years studying Fine Arts, I was deeply enamored with image technologies. My particular affection was for photography, where the stillness of moments captured my imagination. But my trajectory took a significant turn in 1999 when I visited an eye-opening exhibition at Casa de Serralves by the video artist Pipilotti Rist. The dynamic visuals and the amalgamation of motion, sound, and narrative in video art presented a new dimension, offering an array of creative possibilities that photography couldn’t. This pivotal experience intensified my journey into the realm of video. Over time, as I transitioned into curatorial roles, my enthusiasm for this medium didn’t wane. Instead, it evolved, and I became fervently committed to not just understanding video art but also showcasing it, allowing others to experience its transformative power just as I had.
As students aspiring to understand video art’s evolution, could you take us on a journey through some of the most unconventional and thought-provoking early video art works that have left a lasting impression on you?
As a woman, I’ve always been particularly drawn to works with a feminist perspective. Martha Rosler’s performative video experiments stand out in my memory, especially her piece “Semiotics of the Kitchen.” In this work, Rosler playfully and critically parodies television cooking shows, donning an apron and engaging in mimed actions with kitchen utensils. The piece is a compelling juxtaposition of the domestic realm and the constructed expectations placed upon women.
Another artist whose approach deeply resonates with me is Dara Birnbaum. Her innovative use of appropriated images from television series has always intrigued me. One of her seminal works that comes to mind is “Wonder Woman,” where she deconstructs and reconfigures imagery from the popular TV show, presenting it in a context that challenges and critiques the media’s portrayal of female empowerment.
Building on my previous answer, I would also like to highlight Pipilotti Rist, whose work has left a profound impact on my understanding of video art. A piece that particularly resonated with me is her two-channel installation, “I am a Victim of this Song,” which is based on Chris Isaak’s song. Rist’s unique take on the romantic lyrics, rendering them absurd through her imagery, was both thought-provoking and transformative for me.
These video artworks not only exemplify the innovation and depth of the early days of video art but also spotlight the critical lens through which these artists viewed societal norms and expectations. They serve as powerful reminders of the potency of the medium to evoke change, elicit emotion, and challenge perspectives.
In a world saturated with visual content, how do you believe video art stands out as a unique and powerful form of artistic expression, and what possibilities do you see for its future impact on our culture and society?
In an age where we are overwhelmed with an unending stream of visuals, the role of video art becomes even more critical. Precisely because we live in this visually saturated environment, it’s essential to question how these images are constructed, their inherent conventions, and the underlying messages they bring with them.
Interestingly, video uniquely straddles both the world of mass culture and that of elite visual arts. This dual positioning gives video art a distinct advantage: it can communicate across various segments of society, arguably more so than traditional forms like painting and sculpture. For instance, a young individual, constantly immersed in a digital realm, might be more easily captivated by a moving image artwork than by a static painting. The dynamism and immediacy of video are innately enticing, making it a medium that speaks the language of the contemporary audience.
Considering this, I firmly believe that video art will remain one of the most potent forms of artistic expression. It has the potential not only to reflect society’s nuances but also to shape them, offering insights, challenging norms, and fostering a deeper understanding of the world around us. Its inherent ability to engage diverse audiences ensures that its impact will only grow, shaping culture and society in profound ways in the years to come.
Why did you choose The University of Theatre and Film Arts of Budapest and what were your favourite experiences at our institution?
I chose The University of Theatre and Film Arts of Budapest due to its evident synergy between theatre and cinema. Theatre, in my perspective, represents live production and is rooted deeply in performance and immediacy. Cinema, on the other hand, often leans towards narration and crafted fiction. Intriguingly, these two disciplines intersect vibrantly in the realm of video art. Video emerges as a companion to performance, a tool for surveillance, and a swift means for artists to capture the nuances of everyday life. Given these overlaps, I felt that the university was the ideal place for my area of study.
During my time at your esteemed institution, I felt genuinely welcomed. I was particularly taken aback by the critical spirit of the student group that attended the workshop. Their enthusiasm, critical thinking, and engagement deeply enriched my experience and added invaluable layers to my academic journey.
Other News
The First Half-Century of the Théâtre du Soleil and Two Special Guests – Book Launch in the SZFE Books Series
The SZFE Books series is once again enriched with a significant volume. Its mission is to make essential theatrical and film works available in Hungarian, works that are indispensable to contemporary artistic discourse. The newest addition is French theatre historian Béatrice Picon-Vallin’s book: Théâtre du Soleil – The First Half-Century of Ariane Mnouchkine’s Sun Theatre. The launch will take place on September 29 at the Doctoral School of SZFE.
“The Body Is Reality” – David Cronenberg in Budapest
David Cronenberg, the world-renowned Canadian director of the body-horror genre, visited the Uránia National Film Theatre as the guest of honor of the Budapest Classic Film Marathon. At the audience Q&A organized by the NFI and SZFE, viewers heard not only about the beginnings of his career and behind-the-scenes stories from his legendary films, but also about what technology and artificial intelligence mean to him.
Romeo and Juliet in the Rain – the Sopron International Theatre Workshop has concluded
In 2025, the University of Sopron once again hosted the International Theatre Workshop. On the closing day, July 8, the students presented the short stage performances inspired by Shakespeare’s Romeo and Juliet that they had been working on during the week at six different locations in the university’s botanical garden.
International Theatre Workshop Launched in Sopron - Young Artists from Six Countries Collaborate in a Weeklong Creative Residency
The University of Theatre and Film Arts Budapest (SZFE), in collaboration with the National Theatre of Hungary and the University of Sopron, proudly presents the second edition of the International Theatre Workshop – Sopron 2025, taking place from 1 to 9 July on the picturesque campus of the University of Sopron. The initiative gathers jung actors and directors from Hungary and abroad, alongside distinguished educators and theatre professionals, for a week of intensive artistic collaboration. The official opening ceremony was held on 2 July at the Ligneum Event House.
Students of SZFE at the Cannes Film Festival
The Cannes Film Festival is the world’s most famous and prestigious film festival, held every year in the second half of May in Cannes. The main venue for the screening of films competing for the Palme d’Or, the festival’s top prize, is the Festival and Congress Palace (Palais des Festivals et des Congrès) on the Croisette. This year, 25 students from the SZFE traveled to the festival; we spoke with two of them, first-year television production student Kata Hegedüs and second-year student Eszter Simon, about their experiences.
The stage awaits! – new masterclasses at the SZFE
The University of Theatre and Film Arts will launch three 12-week masterclasses in February 2025: movement, voice training and a combined movement-voice training masterclass. The training coordinator for the movement masterclass is Vidáné Szent-Ivány Kinga, associate professor and winner of the Gyula Harangozó Prize, while the voice training coordinator is Borbála Keszei, assistant professor and winner of the Liszt Ferenc Prize.
Budapest among the best student cities in Europe
Based on a survey by The Campus Advisor, Daily News Hungary published the European university ranking, in which Budapest ranked 4th. The analysis is based over 17,000 authentic ratings by students and reflecting the real experiences of those with first hand knowledge.
Unique concepts - King Lear as a film or a stage play unique concepts
On a fortuitous day, December 13th, all eight of our Erasmus students presented their examination projects from their product design course under the guidance of Professor Éva Szendrényi. The focal point of their project work was the adaptation of the first scene of King Lear, either as a film or a stage play, applying the students’ unique concepts. The adaptations ranged from contemporary themes – a drag queen show, a modern USA Wall Street business narrative – to a fantasy tale. The presentations combined freehand drawings and photos. It was fascinating to observe how the students conveyed the characters’ features and dynamics through costumes, exploring how textures and colours could represent the nuances of the characters’ roles and the social distances within the narrative. Each presentation showed how the space, costumes, colours, and lighting design work in a play or film, expressing our students’ creativity and skills.
