Ayant comme point de départ les premières expérimentations de Nam June Paik avec les téléviseurs au début des années 1960, cette étude suit l’évolution historique de l’installation vidéo en parcourant cinq décennies de création. La problématique de l’espace, fil conducteur de cette recherche, nous amène d’abord à la constitution d’une typologie. Fruit de l’étude de l’évolution des formes principales de l’installation vidéo, cette classification a pour objet l’œuvre sous sa forme aboutie, c’est-à-dire installée. Néanmoins, cet état n’est que le résultat final d’un long processus. Divisée en quatre étapes, l’étude de la mise en espace de l’œuvre soulève des questions cruciales liées à l’acquisition, l’exposition et la conservation de l’installation vidéo. Une fois que l’œuvre est installée, elle s’articule autour d’un espace-temps virtuel, celui de l’image vidéographique, et d’un espace-temps réel, celui du dispositif plastique, analysés dans la troisième et dernière partie. Cette étude met l’accent sur la dimension historique de l’installation vidéo tout en la contextualisant au sein de l’histoire de l’art du vingtième siècle. / Having as a starting point Nam June Paik’s experimentations with televisions in the early 1960s, this essay traces the history of the video installation spanning five decades. The question of space is the basic thread of the analysis. It has led to the constitution of a typology that examines the evolution of the main forms of the video installation. This classification focuses on the artwork that is already installed. However, this state is the outcome of a complicated procedure. Divided into four steps and thoroughly examined, this process raises some crucial questions concerning the acquisition, the exposition and the conservation of the video installation. When installed, the artwork acquires two spatiotemporal dimensions, namely the virtual space and time of the video image and the real space and time of the installation, both analysed in the third chapter. This essay stresses the historical aspect of the video installation by situating it within the broader context of the 20th century history of art.

This thesis aims to examine if and how gender is framed, presented and problematized in contemporary art exhibitions. To achieve this, exhibitions and the curatorial function at the museums Bildmuseet in Umeå and MAN (Museum Anna Nordlander) in Skellefteå are investigated through interviews and analyses. These were made from a gender theoretical perspective, guided by Judith Butler's poststructural approach, focusing especially on perfomativity and queer. The thesis describes how contemporary art exhibitions can be curated in a gender aware manner. The areas identified as important when it comes to gender aware curation are: including and problematizing gender, educating in gender issues and gender awareness during internal as well as external collaborations. All of the analysed exhibitions contain gender aspects that ​are examined deeper, even though the curators did not intend all of the exhibitions to highlight and problematize gender. In the thesis, it is also discussed what role the curator has in the gender aware work and how gender/sex are represented in the examined exhibitions. It also problematizes the lack of non-binary artist in previous exhibitions of the museums and how this, through different strategies, can be counteracted in order to create a more democratic and inclusive museum.