The installations presented at this year's VideoFest are intended to show some very different as­ pects. For a fresh reminder that interactive installations are not video games we need look no further than "The Table of Orien­ tation " by Madelon Hoykaas and Elsa Stansfield. The ultima­ tum it delivers to the public reads: participate, explore the different levels on which art can approach existential themes. Burkhard Welzel imbues his instal­ lation "Julias Balkonszene " with a typically self-ironic plea to be used and lures the unsuspecting public into a virtual landscape. A different form of active partici­ pation is invited by Assaf Etiel in the video sculpture "My Little Pony". The bold form of the sculpture is almost a smoke­ screen for the secret message hidden on miniature monitors. In the film composition "Raw Mate­ rial #1", Henning Lohner sets up a computer-less virtual network designed to accommodate be­ tween one and eleven projec­ tions and produces something along the lines of a global falk of personalities. Dalibor Martinis' triptych "The Line of Fire" is for­ mally austere yet succeeds in arousing a precisely calculated intensity by its employment of large-screen projections. Projec­ ted video images are part of Rick Buckley's concept too, and liberate his dramatic production of Beckett's "Embers" from any constraints of fhe medium. A special section of this year's Vi­ deoFest is devoted to work by Klemens Golf. The seven video sculptures and objects on view constitute a representative selection of his recent work.