In the online series, VIDEOSKOP, imai invites international curators, gallery owners and other video art experts to take an in-depth look at an art work from the extensive collection of the foundation and to discuss the work on the imai website. 

Lydia Schouten's works from the nineteen-eighties are experiments with the interface between video and performance which communicate eccentric staging and feministic criticism. A look back at the early works of the Dutch video pioneer is particularly worthwhile in the light of the current trend towards staged and orchestrated performances, pop eclecticism and lo-fi aesthetics in contemporary film and video art.

Video selected and introduced by
Katrin Mundt, freelance curator and author

Geisler's «Virtual Beauties» are virtual figures which appear to be a dream come true of what constitutes beauty. At the same time beauty is presented here as a complex construct oriented to media examples.

Video selected and introduced by
Sabine Himmelsbach, artistic director, House of Electronic Arts Basel

Filming through a fish-eye camera lens (an effect created by using a mirrored globe) and accompanying the image flow with distorted electronic sounds Steina and Woody Vasulka drive through industrial cityscapes, suburban areas and rural districts.

Video selected and introduced by
Jacob Lillemose, exhibition curator, transmediale festival

Paul Garrin's short video «Free Society» is the result of spontaneous camcorder recordings made in the night of the 6th to 7th August, 1988, as the video and media art artist in the vicinity of his apartment bore witness to rioting in Tompkin's Square Park when the New York police violently evicted homeless people from the park.

Video selected and introduced by
Kathrin Becker, Video-Forum, Neuer Berliner Kunstverein (n.b.k.)

Jürgen Klauke's performance video «Lachen − Weinen» (Laughing and Crying) from 1978 is an "image" of the search for answers in the "madness of daily life".

Video selected and introduced by
Anita Beckers, Galerie Anita Beckers, Frankfurt am Main.

The performance art of the early seventies is characterised by experiments and the sounding out of physical limits. It is a form of self-discovery with feminist challenges from female art activists such as Gina Pane (*1939), Valie Export (*1940) and Marina Abramovic (*1946) against the image of "women as objects of lust" in a continuing chauvinistically oriented society.

Video selected and introduced by
Laura Györik Costas, IMAGE MOUVEMENT, Centre d'Art Contemporain Genève.