Resumo

SABECKIS, Camila. El videoarte y su relación con las vanguardias históricas y cinematográficas. Cuad. Cent. Estud. Diseñ. Comun., Ensayos [online]. 2015, n.52, pp.49-70. ISSN 1853-3523.

In the early twentieth century, and following the First World War in Europe arise a group of innovative artistic movements that proposed to break the traditional artistic forms. These manifestations, called artistic vanguards, put into crisis the rooted values and posed a radical rejection of realist art and a taste for experimentation with new forms of art. Following the example of other arts, the film vanguards, which emerge in Europe in the 1920s, will question the dominant motion picture mode mainly imposed by the Hollywood industry. Made up of artists from different fields: musicians, photographers, painters or writers, these vanguards looked for get experienced on the new media breaking the systematized classical narration. Four decades later, in the 60s, a group of artists linked to conceptual art, visual arts, musical arts and begin to use the new electronic imaging technology for artistic purposes leading to Video Art. Video art thrives well in the beginning of the main trends and manifestations of the latest innovations, pop art, minimalism, Dadaism and Cubism. This new artistic movement will postulate a critical position against art world conventions in coincidence with film vanguard movements. This article aims to analyze the characteristics of the film and video art vanguards, and the cultural historical context where it took place, in order to establish the contact points between the two events and the implications they had on the arts.

Palavras-chave : Break; Experimentation; Film and arts vanguards; Institutional; Renewal; Video art.

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