Video now occupies an exponential place in contemporary art, currently reflected in the major international events such as the Venice Biennale and Documenta in Kassel.

This development of video art goes hand in hand with the ever increasing sophistication of new image and sound technologies which have given visual artists new avenues of exploration, and offers them a field of distribution that is wider than ever before, with a public that is today highly diversified. As gallerists, Jérôme and Emmanuelle de Noirmont produced many different types of video works which has given them specific knowledge in this area.

They financed most notably the videos of the great Iranian artist Shirin Neshat, from Rapture (1999) to the more recent of the series Women Without Men (2008) that were later featured in the eponymous film for cinema. In 2002, the Galerie Jérôme de Noirmont also supported the young Sino-French artist Yi Zhou by financing the production of numerous video works including her 3D video animations such as OneOfTheseDays (2004) that were developed with a specialized graphics company.

A sophisticated production for a very technical art

Today, these experiences allow Noirmontartproduction to benefit from a real expertise in video art and to fully measure all the constraints associated with such projects :

  • highly complex works, requiring the collaboration of many stakeholders with the artist;
  • time-consuming productions that take long to develop, often spanning several years, from shooting to final editing;
  • very elaborate presentations with the design of specific screening areas, particularly at exhibitions within major art events or in museum rooms;
  • sustainability problems, given the uncertainties of the future of certain equipment and materials;
  • high financial costs;
  • various legal issues, related both to the development of the work, such as image rights, and to the distribution which should be considered internationally, beyond any geographic territoriality and which often goes beyond the borders of contemporary art to enter into other cultural domains for the general public, particularly cinema.