| Summary: | Video art has earned its spot within cultural heritage since the beginning of the 1970s, especially as a medium for activist practices, and it is now one of the most collected and exhibited artistic typologies in museums. The use of video art as a means of social protest and reflection continues to produce relevant artworks in the present day that constitute a part of our collective memory and that need to be safeguarded for the future, since they act as a valuable means of expression for marginal collectives and alternative ways of living. In this regard, the preservation of cultural heritage is a part of what has been called cultural sustainability: an essential part of sustainable development, which refers to the necessity of ensuring the access of future generations to past and current artistic practices.
The following research reflects on what cultural sustainability means for cultural institutions and museums, and how availability is fundamental to the preservation of video artworks, endangered by technological obsolescence. Specifically, single-channel video is examined from a conservator’s perspective and some ethical considerations are examined regarding its obsolescence and reproducibility. Subsequently, with the idea that proliferation equals conservation, some institutional initiatives are presented that use the Internet as an environment for video art distribution across the world; the issue of copyright is also examined, under the belief of open distribution and fair use.
What does the future of video art hold? How can we ensure sustainable cultural development? And is it possible for museums to balance private and public interests? This article reflects on these questions and tries to provide some answers based on the idea of preservation through open access.
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