Recovery and distribution of video art works in the Spanish context The case of Carles Pujol
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Abstract
The preservation of the original formats of an artistic discipline such as video art has been of interest to scholars for a number of years. Video distributors and contemporary art museums are the primary organizations tasked with recovering and raising awareness of the pioneering works of video-creation. The fragility of magnetic tapes and the obsolescence of analogue video formats used in the 1960s–1980s render it difficult for these works to last over time. This article investigates the case of Carles Pujol, one of the most renowned Spanish artists in the history of international video art. Among other themes, the article observes how the Catalan artist creates new versions of old video installations, incorporating present-day technological devices in place of the outdated. It also recounts how a representative selection of his single-channel pieces is incorporated into the catalogue of video distributor HAMACA. Both topics speak to the current consolidation of the digital format and its unquestionable place in the future of video art.