Lorenzo Taiuti on Video Art's Rise and Institutional Resistance in Italy
In the latest issue of Artribune Magazine (#47), Lorenzo Taiuti examines the transformation of video art in Italy, tracing its journey from the fringes to mainstream acceptance. Following the waning of conceptual art, painting took center stage, whereas video art found its niche at festivals such as Taormina and Locarno. A significant turning point emerged in the mid-1990s when Bill Viola showcased his work at the US Pavilion of the Venice Biennale, challenging conventional viewers. However, gallerists remained skeptical about the market for video art, and institutions often dismissed projects due to their costs and intangible nature. While students from Düsseldorf Academy thrived in video during the 1980s, Italian academies were less receptive. By 2018, video art became prevalent in urban spaces and galleries, yet Taiuti criticizes institutions for failing to support production and innovation.
Key facts
- After conceptual art's decline, painting dominated Italian exhibition spaces.
- Video art devotees met at festivals in Taormina and Locarno with small insider audiences.
- Bill Viola's mid-1990s Venice Biennale US Pavilion appearance shocked the public.
- Gallerists asked how video art could be sold.
- Institutions rejected video projects due to equipment costs and immateriality.
- A 1980 Düsseldorf Academy student learned video editing and early computers.
- Italian academies opposed video and multimedia experimentation.
- In 2018, Rome hosted Videocittà with video used invasively in urban settings.
Entities
Artists
- Bill Viola
- Lorenzo Taiuti
- Joseph Beuys
Institutions
- Artribune Magazine
- Venice Biennale
- Accademia di Düsseldorf
- Museo del Cinema
- Maxxi
- Videocittà
Locations
- Italy
- Taormina
- Locarno
- Venice
- Düsseldorf
- Rome
- Pantheon