We probably have never consumed as much video art online as this year. Screen time is up and rising. Let’s call this phenomena COVIDEO. What does this plunge in the online seas mean for the artists and viewers? Is there a new relationship between the ‚online’ and the ‚offline’ work of an artist? And how can we re-theorise the ‘possessive spectator’, a term by the feminist theorist Laura Mulvey that meant to articulate what it means to be a film lover in the digital age? Can the online screening of video art be more than an emergency solution reacting to the pandemic?