A supposition for a prehistory of video and multimedia installations (in Italy)

We need to examine the interferences that flow in the territory of videoart, for the very inter-media nature of these practices, especially in those periods when videoartistic aesthetics has not settled down yet.
In this study, A supposition for a prehistory of video installations we are reconstructing possible layouts that could be numbered among the experimentations off the screen of the so-called expanded cinema, an example of which is Marinella Pirelli’s Film Ambiente (1968-69); the space variously declined by Gianni Colombo ( After Structures, 1966-67) and by Davide Boriani (Camera Stroboscopica Multidimensionale, 1965-67), as well as the performance art and the intermedia.