Marilyn Goh reviews Video, An Art, A History 1965-2010 on the contemporary visual arts blog Daily Serving:

If early efforts by video pioneers such as Nam June Paik, Bruce Nauman and David Hall took the definition of an art object beyond its conventional parameters as a static entity produced for visual consumption, perhaps the greatest strength of video art triumphed in this show is the unprecedented potential of experiential interactivity between artist, installation and spectator. Peter Campus’ Interface (1972) invites the viewer to superimpose their reflection onto their projected image after which they simultaneously face 2 images of themselves – one of the video image and their reflection on the glass screen. The inherent sense of ego coupled with a measure of curiosity is a potent brew, particularly when facets of the multi-layered self are revealed in art. Like the literary Doppelgänger (the ghostly and sinister double), artists’ early efforts recognised the potential of video art in exploring the loss of existential reference in which the traditionally held view of the consecrated sense of self is destabilised.

Read the full review here. Video, An Art, A History 1965-2010 is an exhibition jointly produced by the Singapore Art Museum and the Centre Pompidou. The exhibition is on at the Singapore Art Museum until 18 September 2011.