New Trends from the World Wide Video Festival 1993-1994 is a single-channel video programme that brings together a selection of works representative of the dominant trends at the 12th World Wide Video Festival, a very broad - though always random - review of the immense diversity found today in multimedia art. Within the variety inherent in the programme, it is possible to identify some larger trends. Many of the works reveal a desire for political commitment, a motif that has become stronger in recent years as many of the artists have become obsessed with the changes in the world, especially in the Eastern Bloc and China. There is also a tendency to mix an artist’s images with earlier ones, as well as an important increase in elements from performance pieces and videos based on performance art. An upsurge in documentary-type productions made by and about artists from a very personal point of view is also notable. Finally, many of the works in this selection share an autobiographical intent.
The works by Francisco Ruiz de Infante (Vitoria-Gasteiz, 1966), Petter Missotten and Irit Batsry (Ramat Gan, 1957) have a poetic inspiration in common. Die Rache der Toten Indianer (1993) by Henning Lohner (Bremen, 1961) is more like a documentary and highlights the intensity of artist and composer John Cage. Productions by Lars Kristensen, Kim W. Matthias & Stephan Haase and Patrick de Geetere & Cathy Wagner, as well as Moscow X (1994) by Ken Kobland (New York, 1946) share a movie house atmosphere, with the acclaimed director of Berlin-Nilreb (1988) and Foto-Roman (1990) creating a beautiful portrait of Moscow at three moments of great political change. Japan - through both the eyes of westerners and the Japanese themselves - appears in productions by Tomoko Take (Osaka, 1970), Shinichi Yamamoto and Stefaan Decostere, while Lydie Jean-Dit Panel (Montbéliard, 1968), Cheryl Donegan (New Haven, 1962) and Paul McCarthy (Salt Lake City, 1945) & Mike Kelley (Wayne, 1954; South Pasadena, 2012) present works with elements from performance art. Pieces by Merel Mirage, Nick Stewart and André Colinet (Belgium, 1955) feature a political commitment in documentary, analytical and dramatic manifestations. Bart Dijkman (Netherlands, 1959), George Barber (Georgetown, 1958) and Dennis Day (Grand Falls, 1960) present works that draw on a strong autobiographical inspiration. The symbiosis of image and music inspires the Polish artist Jaroslaw Kapuscinski and the young French artist Gerard Cairaschi (Brignoles, 1956). Finally, the selection made for the Museo Nacional Centro de Arte Reina Sofía includes works by Stuart Bender & Angelo Funicelli and Manfred Hulverscheidt (Aquisgrán, 1951) in which musical compositions and the movement and rhythm of the human body constitute the central motif.