The moving image in space and the experience of self in space - the site plays a vital role in the presentation of video installations, and this applies to 1993 in particular. Yet another new work is being created for the Gallery am Pariser Platz in its location at the core of Berlin and the cutting edge of East and West: Catherine Ikam, one of the most important figures of French video oart, will present artistic worlds - in contrast to historical surroundings (external and internal) and in proximity to Potsdamer Platz, the representative center of future Berlin. We thank the Institut Français Berlin, the Cultural Department of the French Embassy, and the Academy of Arts for their support of this exhibition. In further development of the French theme of this year's development of the French theme of this year's Festival, the installation-related segment of the VideoFest is supplemented by the presence of a young and still largely unknown artist: Sabine de Chalendar. Martine Bour of the French Culture Ministry, a committed supporter of young artists, has given her the chance to produce a new work which will be displayed in Podewil.

With a little help from our friends: "Videoinstallation - British Artists of the 90's". The group exhibition with Judith Goddard, Keith Piper, Andrew Stones, and Richard Wright also has many supporters. The works for the exhibition spaces were chosen in cooperation with Eddie Berg of the Video Positive Festival in Liverpool: four views Positive Festival in Liverpool: four views of the body, four works with historical and social references. Here our thanks go to the British Council as well as to Kunst-Werke for their fine cooperation. And as the border-crosser of this part of our program, we have also invited the Paris-based English video artist Cathy Vogan with a series of light boxes. That her "bridge" consists of video monsters is, of course, pure coincidence.
Last but not least - JVC Professional has once again taken on the challenge of sponsoring us to an even greater extent than last year, thus making possible the financing and adequate presentation of these very costintensive exhibitions.