Video is between photography and painting in terms of materiality: preserves the materials physical properties (texture, pigments,...), coming close to painting but also to photography through his format, colour and access facility. “Video killed the painting stars” is an iconoclastic approach to some visual arts historical images, in 11 videos. Because images are destroyed, transformed, or because the action adds new layers creating a new work, radically different from the original. In pieces like “Video killed the painting stars” #2 (Manet), (the original work is important because it places the spectator inside the picture through the central figure view) is deconstructed the perspective error of the figures in the mirror who strengthen the uncertainty of what we are seeing. Who sees and who is seen? The video corrects the perspective leaving us alone with the Foly Bergeres servant: now we (contemporary spectator) are seduced by her gaze. It is a new unfinished Manet because not everything was corrected. In “Video killed the painting stars” #3 (Wall) (remake of Manet) the mirror effect is annulled and places us in the true spectators position, conscious of the “trick”. “Video killed the painting stars” starts with the idea that there is in us a destructive pulsion of the image, substantiated by several exemples through men history: since Jesus extruding the usurious of the temple, the lutheran iconoclash or the afghan buddhas explosion, to Mr. Bean effacing the Whistlers mother face. The author invested on a destructive and transformer pulsion and selected significative works of the visual cultural of our time. To get it, he used the classification of the several kinds of iconoclasts mentioned by Bruno Latour in “What is iconoclash? Or is there a world beyond the image wars?”. Thus we have classic iconoclasts who dont accept images as knowledge mediators and who consider essential their total erradication; others believe we should not extract an image from the images torrent and isolate her; some attack or condemn images by their symbolic value to others and not for beying images; others simply destoy to build again, and others use challenge and irreverence to affirm their independence from the image. This project experimentation and investigation also conduced the author to create a new serial video called “Iconofilia” (of which are exhibited two) and which reflects not the common idea of image obcession but rather the veritable image persecution, the perfect image in search of objectivity and truth.