2 meter 1 (6 foot 6) Kuno Terwindt (The Netherlands, 1999)
6 foot 6 is a long slide series of group portraits. The people and the places are always different. The only constant thing is the long form of a young man, usually in the center of the picture, yet also a bit towards the back The fluid visual tran­sitions and the soft, melancholic synthesizer music strengthen the solitary impression he makes over the course of time.

My Air Mattress Morgan Schagerberg (Sweden, 1998)
As in his installation at the last lmpakt Festival, in which a snug living room was blown to bits, here Schagerberg again explores the fine line between play and malice. Three young people are involved in an incident at a swimming pool. A three· part video projection shows each of their individual experiences and emphasizes the ambiguity of the situation.

The Hundred Videos Steve Reinke (Canada, 1990-1997)
Reinke decided to make a hundred short videos before the end of the millennium; these were to form his oeuvre as a young artist. In a constantly cool tone, he tells about his memories, dreams and fantasies, about his worldview, sex life, and hypochondria. The combination of texts and images, often taken from television and film fragments, have an effect that is sometimes melancholy, sometimes hilarious.

The Last Lap Luk Gobyn (Belgium, 1998)
Five years ago, a Brazilian son of the gods, racecar driver Ayrton Senna Da Silva, lost his life in a crash while on the circuit. Gobyn places the phenomenon of Senna within the context of South American hero worship, especially amongst the broad underclass of society. Using various media such as video, drawings, photos and textiles, the installation combines a biography of the driver, an analysis of his last, fatal race, and expressions of the limitless popularity he still enjoys. This popularity even extends to Belgium: in an old oil fuel tank which has been converted into a makeshift house, a television plays interviews with members of Belgium’s Senna fan club.

Partners / Parallel Play Alix Pearlsltein (USA, 1998)
The video ‘Partners’ contains dozens of short sc,enes in which Pearlstein is alone with one person or animal in a long white space. Se says ‘We won,’ ‘Good boy” and ‘Watch me.” yet more to herself than to her partners. These partners are actually pictures from magazines which hang from a nylon thread in front of the camera. Via a monitor, Pearlstein determines her position relative to these pictures. This low-tech construction recalls the loneliness that lurks behind upper­crust life as it is portrayed in the media. Pearlstein exposes her desire for friends, romance, sex, and success, as well the way these desires are manipulated by the consumption society. “Parallel Play’, which consists of several large color photographs that frame the video, takes its title from the psychological fact that children do not play ‘with,’ but rather “next to’ one another.

Nano-cadabra Phyllis Baldino (USA, 1998)
Nanotechnology is an emerging branch of science that brings complete control of the material world into view. Using sin­gle molecules as its building blocks, any desired structure can be constructed, and every existing one altered. Industrial and medical applications will also shake the foundations of existing socioeconomic structures, Inspired by this aspect, Baldino investigates the relationship between science and sorcery, presenting her findings in an enormous ‘magic box.”

Transient Vehicle Mark Bain (USA, 1999)
In this project Bain will attach various oscillators to a shipping container. Although the vibrations will mainly lie within the subsonic realm, it is still advised that ear-protectors be worn. Bain will also give live performances of Transient Vehicle.

Tuin Runa Islam (GB, 1998)
Islam examines the archetypic cinematographic motif of the meeting between a man and a woman. She has ree­nacted a passage from Fassbinder’s ‘Martha’, in which the camera pans 360 degrees around a couple. The projection of this small film is flanked by two video projections, which respectively represent the viewpoint of the man and the woman, thereby casually bringing the film crew and the camera into the picture as well. Does the illusion of the film still manage to hold up?

The New Fuck Me Little Daddy House Miguel Ventura (USA/Mexico, 1999)
The New Fuck Me Little Daddy House provides a club house setting for dissemination of new and old linguistic systems as well as demonstrating the didactic teaching methods of the New Interterritorial Language Committee (NILC), a fictitious organization (government, corporation, religion or sect) which demands subordination to its attendant set of rules. The leading figure in the NI LC construct is “Heidi Schreber’, a proto-fascist drag persona, whose braid patterns form the basis of a ‘universal’ language made up of a thirty glyph alphabet. Bizarre instructional vide· os explain the correct etiquette for writing, speaking and dancing the NILC languages.

Heaven Tracey Moffatt (Australia, 1997)
For this installation, Moffatt went to the beach and its adjacent parking lots in order to film attractive men getting undressed either before or after surfing. Some are clearly charmed by this, while others act as if they’re indifferent to her attentions. Call it an ode to obtrusive voyeurism and humorous teasing.