The video art appeared in the second half of the 1960s. This art form is related to the official television with which, however, it does not share the commercial side, the aesthetic finality or the manner of dissemination. The pioneers of the video art wanted to blow up the aesthetic limits of traditional art, using the technology of which the product was more communicative than an individual artwork, itself the product of an age-old production process. Video art was born from an interest in the intangible message of electronics as distinct from the static physical forms of traditional plastic arts. What I would like to emphasize, however, about the early years of the adventure of video art are the following concepts: power, mass media, television, broadcast, signal, technique. These concepts will occupy a large part of the artists' activities, opening new intellectual horizons in which some saw the birth of a new episteme. This idea of a changing world, which has led to a new intellectual era since the 1960s, is especially interesting because it parallels with the reflections that could be heard in the early 90s when the computer became ‘personal’, i.e. accessible for everyone. Indeed, with the advent of computers in the living room, future-oriented people identified the era as a new Renaissance that was accompanied by a revolution like humanity had not withnessed since the invention of the printing press in 1500. For this reason, we would like to show in the exhibition that these two moments, that of the 1960s and that of the 1990s, can not be seen apart from each other but are connected by secret ties. To begin to draw these ties we will follow the following three axes: 1 - devices, their use and their invention by artists; 2 - the memory and thus the archive; 3 - the multiplicity of screens as the construction of a new mental universe.