Video installation is the combination of art instillation and video.

Focusing on
elements such as space and sound, video installation can evoke the feelings of
the audience as well as actively involving them in the narrative structure. Its an
experience not softened by technology. Omer Fast, a contemporary video artist
born in Israel and raised in the US. This short quote summarises the temporary
experience of a the short yet powerful film, 5000 Feet is best that takes the
viewer on an emotional and psychological journey that they cannot forget.
Showcased at The Imperial War Museum in London, this video is installed in way
that will make the audience feel isolated, alone and desolate. The museum self
describes itself as a place that aims to provide for, and to encourage, the study
and understanding of the history of modern war and wartime experience. Fast
appears to have wanted his piece to be shown in a location that heavily focuses
on the effects of war and how they can effect an individual. War is a universal
matter which is why this piece appealed to a mass audience.

A combination of a very small space with only the light of the screen, the viewer
can experience the insight of two US drone pilots discussing the most efficient
way of hitting their targets in Pakistan. Using the birds eye view shot, gives a
realistic effect that makes the viewer feel as if theyre in control of the drones
themselves. Played in a continuous loop in a side room of the museum, Fast tells
the horrors of war and their psychological effects. Although set in a chronological
narrative structure, viewers may not know what part of the video is playing due
to being played in a continuous loop. To some, museums may not seem
interesting or engaging but experiencing Fasts work may change that
perception. Viewers who walk into the dark room are almost forced to watch
the film. With nothing but a screen, it is hard for a viewer to take their mind off
the message that Fast is trying to reinforce in the viewers mind. Depicting a
disturbing image of warfare through conversation in a casual tone, audiences are
engrossed by the two drone pilots who appear to be desensitized from killing
innocent civilians. Fast makes the viewer feel insignificant and powerless by

showing them how easy it is for drone pilots to drop bombs on anyone without
the individual even knowing it just by placing them in a very small dark box.
Preceding Omer Fast, Bill Viola also plays around with space in his video
installations. Violas 1983 project Reverse Television doesnt necessarily follow
a narrative form, however it does confuse its audience. The video installation
comprises of forty four people from 16 to 93 who are individually sat in front of a
camera that is around the same height of where most televisions are placed. For
one minute, the people are in complete silence, these videos were supposed to
be broadcasted once an hour on television with no speech, intro or subtitles. This
unusual piece of art confused audiences by making them believe there was a
fault in their television sets as well as giving them a slightly disturbing
experience as it wasnt actually installed in a gallery but through TV screens.
Viola broadcasted the installation through peoples televisions whilst they were
watching which in turn made the audience themselves feel as if they were being
watched by the people they were looking at. Bill Viola wanted to interrupt the
continuity of the undifferentiated flow of the television picture. Audiences would
feel as if they were being watched whilst watching someone else.

Audiences lacked the chance to interact with the piece as they themselves
wouldnt have realised it was a piece of installation art, all they could do was
simply watch and wait. Without being shown in an actual location just through
the television screens of those who happened to be watching the channel it was
broadcasted on, Viola left viewers feeling helpless and bewildered to what they
were watching. Viola deliberately left out a narrative structure in his videos to
ensure the audience watching would have no idea of what was happening as well
as to think about how that they themselves looked in front of a television screen.

Contemporary instillation artist Tony Oursler created Judy in 1993 a somewhat

abnormal piece that focuses on the controversial subject of multiple personality
disorder which was installed at The Lisson Gallery in London. The New York Times
describe this masterpiece as a rambling odyssey which outlines the unsettling
concept of the art. Audiences are given the chance to engage and interact with
the video art by walking through a disordered room and witness the many
personas of a woman dealing with her mental illness. Featuring a structured
narrative inspired by a real life victim living with the disorder triggered by
emotional traumas and addictedness to film and television, viewers become
attached to the protagonist and share connections to each of the personas
played out in the piece as each personality tells their story.
Unlike the previous video installations, Oursler uses furniture, different sized
screens and projectors to make heads for different characters which gives an
original and creative response to the art form. This was used to make the sizes of
heads appear more realistic and human like. An interactive element of allowing
the viewer to talk to the characters via microphone which personalises the
entire experience.

Art is seen as subjective and this especially relates to contemporary video art,
however due to the specific pieces of work, my own video installation will be
seen as more of a way to display work. Being inspired by all three video artists, I
will use monitors and TV screens in order to display visuals.
Video installations is now a popular way to show off art in a modern and
contemporary way. It can help tell a story as well as making the viewer feel or
react in a certain way both mentally and/ or emotionally. An uninteresting piece
can become fascinating just through the way in which it is installed or displayed
using sound, imagery and space.