In the universal, soilent-green art mush of the 21st century, video art has positioned itself as an irrefutable equal with other forms of contemporary art practice. Regardless of personal receptory abilities, sensitivity and affinity, even consumers of traditional fine art disciplines find, in the wide range of different video forms on offer, a sensation for their eyes only. Of course, television has greatly contributed to this fact, without which, quite certainly, video art and the development of this discipline would not be possible. Still, when we find ourselves face to face with works that represent video art, some issues inevitably arise. First, there is the objective problem of the physical perception of the work, and not just one work, but all which are presented, at, let’s say, a video exhibition… the audience makes its own selection within the offered one and is often governed by simple instinct or a reaction based on pure magnetic attraction.

People prone to celebrating anniversaries, no matter which ones, probably get a warm fuzzy feeling by the number 10. Those with less of a penchant for celebrating, otherwise happy that the Earth revolves around the Sun, won’t take out their trumpets. The number in front of us first of all means the passage of time. Hence, we not only celebrate our triumphs and failures that make us celebrities, but rather we pay homage to the passage of time itself. This distinctive checkpoint can be read as a keyframe in the movement of an animation whose time is not clearly specified in the script. It is this time category, definitely flexible, that cuts a clear destinction between visual arts.

There are certain points which can be positively determined as most crucial in every history, let alone history of the new media, more precisely - history of artistic video. Video art as an form of artistic expression begins it's life during early sixties of previous century, in circumstances which are not only marked with social turmoils, student mass movements, increasing dissatisfaction with order of things, but a very fast technological development in a field of television also. Quick spreadout of this media throughout the world has not failed to catch the attention of the artists, which acted pragmatically and contextually in the best manner of Duchamp and Fluxus and accepted and investigated the possibilities of the new media.