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<B>15th World Wide Video Festival</B>
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<B>FESTIVAL INFORMATION</B>
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<H2><FONT COLOR="#000000">
15th World Wide Video Festival
<BR>
September 12 - 17, 1997
<BR>
Exhibitions September 12 through October
</FONT></H2>
<H3><FONT COLOR="#000000">'State of the art'</FONT></H3>
<FONT SIZE="+1">In 1997 the festival again offers a <FONT FACE="New
Courier, Courier" SIZE="3">'State of the art'</FONT>. This implies a
selection from recent international media art productions, offering a
confrontation with the ideas of artists who in their work make use
electronic media. As most of these art works have no commercial value as
such, they show us an image of the values of life which is quite from the
one put forward in the general media such as television, radio or
newspapers. They also differ strongly from the marketable art produced in
the commercial art world. The festival selection was made after extensive
research and careful consideration of many hundreds of entries from all
over the world. Our research was facilitated by the extensive
international network we have built up over the past 14 years. The
information thus gathered was used to keep in touch with many artists and
institutes. We collaborated closely during the entire preparation stage
with our partners the Stedelijk Museum (Dorine Mignot) and the Melkweg
(Cor Schlösser) in researching and selecting works for the festival.
Festival director Tom van Vliet was also assisted by two experts in media
art, both from foreign origin but living and working in the Netherlands,
Spanish art historian Vicente Carretón and British artist Justin
Bennett.</FONT><P>
<FONT SIZE="+1">The final selection was the responsibility of the World
Wide Video Festival and the representatives of the various art institutes
in Amsterdam collaborating with the festival. This year we worked
together with the Stedelijk Museum, the Melkweg, MonteVideo/TBA, Bureau
Amsterdam, Bellissima, P.A.R.K. 4D TV, the Maatschappij voor Oude en
Nieuwe Media en w139. Supported by their enthusiasm the World Wide Video
Festival hopes to become a prominent meeting place for experimental
contemporary media art.</FONT><P>
<H3><FONT COLOR="#000000">World Wide</FONT></H3>
As video art emerged in the Western world in the Sixties, anarchy and
social commitment were essential ingredients. The World Wide Video
Festival feels it is important to keep an open mind with regard to this
aspect of the origin of media art.<BR>
Quite often we see remarkable works, which reach us quickly through
modern communication media. Content and setting of the selected
productions have changed over the course of the years. From our own
experience we know how important it is to initiate projects in all sorts
of sites for presentation. Various forms of presentation such as cable,
on site installations and video projections in the public space offer new
ways of expression.<BR>
Internet as well demands new forms of presentation of art, compared to
video tapes or installations. The new media seem to wash over the
Netherlands like a tidal wave on all levels. In all this, the attention
of the World Wide Video Festival remains focused on aspects of
experimental visual art. Where new media produce interesting works, we
will certainly follow the latest developments in art and technology.
Internationally this tidal wave of new media seems mainly to effect the
Western world. In the coming years our research will be extended and
intensified to include other parts of the world so we can continue to
present a true <FONT FACE="New Courier, Courier" SIZE="3">'State of the
art'</FONT>.<P>
<H3><FONT COLOR="#000000">Stedelijk Museum</FONT></H3>
September 12 - October 5, 1997<BR>
daily from 10 am till 6 pm<P>
<STRONG>Exhibition installations and festival selection</STRONG><P>
Even in the short history of video art, video installations have seen a
remarkable change in form. Partly because of technological developments
in the area of video projectors we see in the Nineties more and more
installations that make use exclusively of the projected image or of
multiple projected images. <BR>
These immaterial illusions of pure light on large surfaces immerse the
spectator in their fragmented narratives and non-linearity of time. They
often deal with everyday objects or events, or are about direct
confrontations. The growing number of artists involved with new media
have produced an enormous quantity of ideas for video sculptures,
installations and projections when compared to the first decade of the
World Wide Video Festival. It is becoming increasingly difficult to
present a representative overview. To give a structured <FONT FACE="New
Courier, Courier" SIZE="3">'State of the art'</FONT> we have emphasized
this year those installations that combine narration with video
projection. <BR>
In the Stedelijk Museum works will be shown by Francisco Ruiz de Infante
(Spain), Tony Oursler (USA), Anne Quirynen/An-Marie Lambrechts/Peter
Missotten (Belgium), Bea de Visser (The Netherlands), Marie-Jo Lafontaine
(Belgium), A.P. Komen & Karen Murphy (The Netherlands), Sam
Taylor-Wood (UK), Eija- Liisa Ahtila (Finland), Merel Mirage (The
Netherlands), Gillian Wearing (UK), Lyndal Jones (AUS) and Michal Rovner
(USA).<P>
Detailed information on all of these works can be found in the
Festival Catalogue.<P>
<STRONG>Exhibition of a selection from the collection of the <FONT
FACE="New Courier, Courier" SIZE="3">Stedelijk Museum</FONT></STRONG><P>
The Stedelijk Museum is one of the leading museums of modern art.<BR>
It has always shown an interest in video and media art and has organized
much talked-about exhibitions in the Eighties such as <FONT FACE="New
Courier, Courier" SIZE="3">'Gerry Schum'</FONT>, <FONT FACE="New Courier,
Courier" SIZE="3">'Nam June Paik'</FONT>, <FONT FACE="New Courier,
Courier" SIZE="3">'The Luminous Image'</FONT> and <FONT FACE="New
Courier, Courier" SIZE="3">'Art and Television'</FONT> and has also
presented artists like Shigeko Kubota, Joan Jonas, Gary Hill and Marina
Abramovic & Ulay. New media was also present in exhibitions like
<FONT FACE="New Courier, Courier" SIZE="3">'Energies'</FONT> and <FONT
FACE="New Courier, Courier" SIZE="3">'Wild Walls'</FONT>. On the occasion
of the 15<SUP>th</SUP> World Wide Video Festival the Stedelijk Museum
will present works from its permanent collection by Bruce Nauman (USA),
Marijke van Warmerdam (The Netherlands), Douglas Gordon (UK), Gary Hill
(USA) and Joan Jonas (USA).<P>
<STRONG>Large screen projections of single channel works</STRONG><P>
<FONT FACE="New Courier, Courier" SIZE="3">Auditorium Stedelijk
Museum</FONT><P>
Continuous projections of selected video tapes, cd-roms and web sites on
a large screen. Invited artists will introduce their work or will be
interviewed immediately following the screenings. Everyday at 2 pm there
will be web site presentation. Also, Shu Lea Chang will present her
latest interactive Internet production <FONT FACE="New Courier, Courier"
SIZE="3">'Brandon'</FONT> which she is developing together with the
Maatschappij voor Oude en Nieuwe Media in Amsterdam, the Guggenheim
Museum and the Banff Centre for Arts.<P>
<STRONG>Showings on request single channel works</STRONG><P>
<FONT FACE="New Courier, Courier" SIZE="3">New Wing Stedelijk
Museum</FONT><P>
The 100 selected video tapes, cd-roms and web sites reflect what occupies
the minds of many media artists all over the world. Where cd-rom is a
relatively cheap medium for creating and distributing multimedia content
and the World Wide Web forces the visual arts to engage in relationships
with other domains of knowledge and research, the video tape remains the
medium of choice for many artists. Video as a technology has changed
profoundly by the integration with digitally produced art and vice versa
digital techniques have altered the way video is being produced.
Structural changes take place where non-linear hypertext elements
deconstruct narrative or where productions enfold in levels in stead of
in time. As a medium for the registration and editing of performance
elements video has been given a new impulse by many artists who have
rediscovered performance art. All single channel works are available for
viewing on request and for each medium the appropriate equipment will be
in place. Dedicated staff members will assist the audience where
necessary.<P>
<H3><FONT COLOR="#000000">Melkweg</FONT></H3>
September 12 - 17, 1997<BR>
8 pm till 2 am<P>
The Melkweg (Milky Way) is a multi-disciplinary cultural centre featuring
music, theatre, film, photo exhibitions and video. An average of 600
concerts take place each year, of which some 25 percent present
non-western music. The building houses six venues with a total capacity
of 2000 visitors. The Melkweg has always had good contacts with the World
Wide Video Festival and the current trend of mixing video and music has
proven a great opportunity for further collaboration.<P>
<STRONG>Large screen projections of single channel works</STRONG><P>
Continuous projections of selected video tapes, cd-roms and web sites on
large screens in the Oude Zaal and Cinema. Invited artists will introduce
their work or will be interviewed immediately following the screenings.
See programme schedule.<P>
<STRONG>Media performance</STRONG><P>
<FONT FACE="New Courier, Courier" SIZE="3">'X<Afrika'</FONT> by Walter
Verdin (Belgium)<P>
For more than two years Walter Verdin and Frank Michiels worked and
experimented with these rhythms and audio-visual elements. One of the
basic ideas was to manipulate the Malinke rhythms of the
Bété tribe from Ivory Coast with computers and have these
generate video images. Together with computerized music these would form
the basic tracks for live musicians. The result is a performance with
hybrid combinations of rhythm, music, video and dance against an African
backdrop. On stage we'll see Kianzo, Sabine Kabongo, Sylvie Nawasido,
Vévé <FONT FACE="New Courier, Courier"
SIZE="3">'Shake'</FONT> Mazimpaka, Verdin and Michiels.<P>
<FONT FACE="New Courier, Courier" SIZE="3">'Passagem de Mariana'</FONT>
by Éder Santos en Paulo Santos
(Brazil)<P>
Seven wigwams of a modern kind represent the seven deadly sins and
together form a kind of indian village. In each tent there is a musician
playing an instrument. Images about the sin are projected onto the fabric
of the tent and onto a large screen behind. Texts by Sandra Penna with
themes related to the deadly sins also appear on this screen. Lights in
the tents show us the musicians in dark silhouette. The exotic music
composed by Paulo Santos, sweeps the audience along on an adventure trip
through this wondrous village. Strange kinds of noises can be heard,
always in another tent; together, these form a remarkable composition. As
audience, you get the feeling of having been a long way away. The title
is derived from the 300 year old city of Mariana in Brazil, an important
centre of gold mining in the seventeenth century.<P>
<FONT FACE="New Courier, Courier" SIZE="3">'Bardo'</FONT> by Marcondes
Dourado (Brazil)<P>
Dourado is a 22 year old 'Baiano' who works in and combines all
disciplines: video, photography, dance, theatre. In 'Bardo' he combines
images and dance inspired by texts of Antonin Artaud. The naked body of
the dancer, full of references, is a representation of our fears and
secrets. In 'Bardo' we go back to the most original condition of 'being'.
The body returns to naturalness, pure, without secrets. Thirty-seven
aluminium basins filled with water and hair are set up in the middle of
the scene. They form a peculiar dancing area for the young Brazilian
dancer Sandra del Carmen, who moves with exceptional virtuosity. The
surroundings in which her trained, naked body manoeuvres are unpleasant,
cold and exude a feeling of discomfort. <P>
<FONT FACE="New Courier, Courier" SIZE="3">'Narcissus and Echo'</FONT> by
Joan Jonas and DJ Spooky (USA)<P>
Video/performance artist Jonas and music/performance artist/DJ Miller are
collaborating for the first time in this unique project, loosely based on
the myth of Narcissus and Echo, a story that has interesting structural
possibilities in relation to the systems of sound and video. In this
case, for instance, the closed circuit system of camera and
projection/monitor/image - in Narcissus and Echo both parts of the myth
are self-reflective as well as interactive. Joan Jonas plans to mix three
pre-recorded tracks with two live tracks, weaving a twenty minute
narrative around the implications of the myth.<P>
<FONT FACE="New Courier, Courier" SIZE="3">'Sample madnesS'</FONT> by
Eboman (The Netherlands)<P>
Jeroen Hofs' interpretation of one of the oldest forms of transmission,
the art of story telling. Like the computer which forms the basic
equipment for his works, he works in a non-linear fashion with sound and
image samples that he made himself, creating atmospheres in a total
environment amplified by decoration. Like the sound, the image will also
be in stereo whereby the viewer imagines that he is immersed in the
story. Not his usual show, but an experiment with live audio-visual
sample compositions.<P>
<STRONG>vj/dj night</STRONG><P>
Saturday 13 September, 1997<BR>
half past midnight - 5 am <P>
Music and images combined by Dutch vj's/dj's. This multi new media
presentation is a result of the collaboration of the World Wide Video
Festival with Bellissima, a local tv station dedicated to film, art and
new media and Smart Project Space, an artist's group that offers a
platform for young visual artists. The programme will include: e.v.e.
Dept, Eyegasm, OO Kaap, House of Techno Creations (Micha Klein, rel,
Danielle Kwaaitaal), Dans Arena dj's, dj Alien en dab.<P>
<STRONG>Installations</STRONG><P>
<FONT FACE="New Courier, Courier" SIZE="3">'ARCHiTEXTURE-Remote
Skin'</FONT><P>
Interactive video-installation by <A
HREF="http://www.rz.uni-frankfurt.de/~supreme/WWVF97" TARGET=_new>SUPREME
PARTiCLES</A> (Michael Saup and Anna Saup, Gideon May and Stefan Karp)
(BRD)<P>
While the facade of the building will have 'a shiny skin of light', an
image is projected onto a screen of 3 by 4 metres on the access bridge to
the Melkweg, based on a complex computer system. Via an interactive zone,
the visitor can enter into a dialogue with this system. The visitor
enters the interactive zone, is then probed by an infra red motion
tracking camera after which his behaviour in time and space is analysed.
In this way he is absorbed as data/information into an artificial system.
As a reaction, the software system generates and projects an organic
plasmatic mirror image of the visitor. Since the intelligent system also
builds up an artificial memory of each person and their behaviour and
since the projected image is partly determined by this memory, the
visitor sees not so much himself as a digital Golem. This Golem reacts in
real time in an unpredictable way to the visitor's actions.<P>
<FONT FACE="New Courier, Courier" SIZE="3">'What will remain of
these?'</FONT> by Chris Dodge (USA).<P>
Dodge considers in a metaphorical way in this interactive video the
question of what remains of individual actions, and how can we observe,
deconstruct and visualize in a digital environment, the origins of
collective identity? Although the technical realization is exceptionally
complex, the set-up of the installation is essentially simple. In the
space, a number of sequential zones have been set out which are recorded
by cameras. The camera image of a passing visitor is, however, reduced to
movement essentials of direction by the computer and processed to an
abstract presence. This so-called 'optical flow field' determines how
small pixels of the original image will react to the behaviour of the
visitor. After a while, the system has converted the stream of visitors
into a collective power field that then determines how each subsequent
visitor will be processed.<P>
<FONT FACE="New Courier, Courier" SIZE="3">'Rabbitsuit'</FONT> by Birgit
Johnsen and Hanne Nielsen (Denmark)<P>
This piece is based on the classic sugary story of vain Miss Longear.
She constantly changes shape and bounces over the lawn with abandon,
unaware of much that goes on around her. An off-screen commentary
half laughingly accompanies these basic exercises in geometry
and abstract art, poking fun at everything and itself.<P>
<H3>P.A.R.K.4DTV/Dick Tuinder</H3>
September 13 - 17, 1997<BR>
Eerste van der Helststraat<P>
<FONT FACE="New Courier, Courier" SIZE="3">The Anatomy of a
Street</FONT><P>
During the first half of 1997, P.A.R.K.4DT interviewed all the present
inhabitants of the Eerste van der Helststraat in Amsterdam about the
streets where they originally come from. Subsequently, 37 streets in
Pakistan, Surinam, Egypt, Israel, Morocco, Malaysia and the Netherlands
were recorded on video in static shots of 1 hour. During the World Wide
Video Festival, these images will be shown on monitors set up in the
windows of the Eerste van der Helststraat. In this way, the Eerste van
der Helststraat which is a straight street, will suddenly have 37
imaginary side streets. A virtual skeleton is created - the real street
as the backbone and the side streets as ribs - in which you can read the
anatomy of the street. And so a side street from a village in Morocco can
look out onto a side street from Cairo, or Volendam. A catalogue <FONT
FACE="New Courier, Courier" SIZE="3">'Travel guide of a Street'</FONT>
and a special <A HREF="http://www.park.nl/anatomie/"
TARGET=_new>website</A> will be available during the exhibition.<P>
P.A.R.K.4DTV is an artists organization that since 1991 has produced
broadcasts for local television in Amsterdam under the motto "Pure
Image and Sound". P.A.R.K.4DTV also organizes exhibitions at home
and abroad and makes its equipment available to artists to make video
productions.<P>
<H3>Bureau Amsterdam </H3>
September 13 - October 19, 1997<BR>
Exhibition: 11 am - 5 pm<P>
Leontine Coelewij investigated if and how new media thrived at Dutch art
academies and among those that had just taken their final exams. Often
the works of these young artists get only local exposure, but some works
definitively deserve an international audience. From some 120 candidates
three artists have been chosen: Imogen Stidworthy, Maria Pask and Fow
Pyng Hu. All three explore in their work their own (personal) boundaries,
their own histories and succeed in transcending these in the creation of
something new, a collective narrative.<P>
Bureau Amsterdam is a branch of the Stedelijk Museum with its own space
in the centre of the gallery circuit of Amsterdam. It specializes in
detecting new developments in an early stage and initiating new forms of
presentation.<P>
<H3>MonteVideo/tba </H3>
September 13 - 4 October, 1997<BR>
Exhibition: 1 pm - 6 pm<P>
<STRONG>Galerie 1</STRONG><P>
<FONT FACE="New Courier, Courier" SIZE="3">'TAVOLI/Perché queste
mani mi toccano'</FONT> ('TABLES/Because these hands are touching me') by
Studio Azzurro (Italy)<P>
Studio Azzurro was set up in Milan in 1982 as a workshop for video
productions. The artistic group consists of three people specialized in
different disciplines: Fabio Cirifino (photography), Paolo Rosa (graphic
art and film) and Leonardo Sangiorgi (graphics, music and animation).
Since its inception, this group has created impressive installations and
has acquired international recognition with various video ambiences.<BR>
There are six, slightly tilting tables in a simple darkened space. A
video tape is projected onto each table which recalls classical themes.
There is a burning candle (the symbol of mortality), a resting woman in a
white night-gown and several still-lifes; a table set with some cups,
bread and fruit and a table with a bowl that is slowly filled with drops
of water. People, objects and situations are present in the space without
being materially tangible. They are insubstantial shadows which can be
touched but which are still illusory. The viewer sets changes in these
projections in motion (which exude a certain peace and weightlessness) by
simply touching the surface of the tables.<P>
<STRONG>Galerie 2</STRONG><P>
<FONT FACE="New Courier, Courier" SIZE="3">'Spitfire 1 2 3'</FONT>,
installation by Lyndal Jones (Australia)<P>
This work is the third in an ongoing six-part series collectively
entitled 'From the Darwin Translations'. This series, like her previous
projects, shifts between installation, video, and performance in an
exploration of human (sexual) attraction. The installation spans two
rooms, one with a large screen and another with three video monitors.<BR>
The monitor room show the more meditative, transitional space 'poppy
fields'; a repeating image series of a field of swaying poppies,
accompanied by the rustle of wind, bird song and insect noises and
interrupted now and then by the roar of airplanes flying overhead. The
large screen in the other room presents 'Spitfire', showing shots from
the cockpit of the legendary World War II fighter plane, accompanied by
engine-sounds, dramatic computerized noise and oscillating-music, as well
as whispering voices.<P>
MonteVideo/TBA, Dutch institute for media art, provide facilities for
artists and art institutes working in new electronic media. They do
research, and collect, archive, manage and distribute media art works and
collections. They organize exhibitions in their own space as well as
elsewhere in The Netherlands and abroad.<P>
Academy Day - Friday September 12, 1997<P>
<STRONG>'Digital Media'</STRONG><P>
Auditorium Stedelijk Museum<BR>
Day programme from 11 am - 5 pm<P>
Night programme of film and video at the Melkweg from 8 pm till
midnight<P>
The World Wide Video Festival dedicates one entire day to digital media
and film and video production in Dutch art education. Students will
present their work in short presentations. The boundaries between the
various disciplines of film, photography, visual arts, video and graphic
design are gradually fading and mixed media arise. Most of the students
tend not to be bothered with these boundaries anyway, searching their way
both inside and outside of the educational system. In general, art
students seem to be more interested in co-operating with others than in
becoming successful solo artists. Special attention will be given on this
day to a number of typographical computer works.<P>
<STRONG>'Video and film'</STRONG><P>
Melkweg<BR>
Night programme 8 pm - midnight<P>
In the past decade a veritable stream of video works has been produced at
art schools, and not only at the audio-visual departments. As in drawing,
many students make video 'sketches' where beginning and end or the method
of observing are not always clearly defined. These videos are notebooks
of a process of looking and thinking, of registering things in a
conceptual, intimate way. These <FONT FACE="New Courier, Courier"
SIZE="3">'videos in progress'</FONT> constitute part of the evenings'
programme, besides animation, text-oriented works and documentary style
productions.<P>
The academy day will be curated by Maarten Sprenger and presented by Dick
Rijken.<P>
<H3>w139</H3>
September 6 - October 12, 1997<BR>
Wednesday through Sunday 12 pm - 6 pm<P>
<STRONG>Bring your own walkman!</STRONG><P>
Listening to music, leafing through magazines, looking at music videos
are the things to do in this darkened exhibition space. There will be
video presentations like <FONT FACE="New Courier, Courier"
SIZE="3">'Troublemakers'</FONT> by G.B. Jones and <FONT FACE="New
Courier, Courier" SIZE="3">'NYC loop 5. 005'</FONT> by Daniel Pflum and
kotai & mo Elektro Music Department.<BR>
W139 will be adorned with artworks by Jim Shaw, Marnie Weber, Toni
Matelli, Arnold Mosselman, Jason Fox, and B. Wurtz. On 27 September there
will be a lecture by William Furlong at 2 pm.<BR>
In Winston Kingdom will present the following acts during the exhibition
period: Owada and Elke Krystufek (17-9), Owada and Trash 2000 (18-9), The
Ken Ardley Playboys and Die Kunst (19-9), Mama Mess and Rave Generation
(1-10), Mo (2-10) and To Rococo Rot (3-10). Window-installation by Eva
Knutz, Elise Tak and poster wall by Jereky Deller.<P>
<H3>Chemistry</H3>
Saturday September 20, 1997<BR>
from midnight<BR>
Escape, Rembrandsplein.<P>
Besides regular Chemistry vj's Danielle Kwaaitaal, Micha Klein, rel, Dr
Klein (House of Techno Creations) appearances will be made by: Doran,
Hootchie Cootchie, dunb, p.a.r.k. 4d tv, Eyegasm, Gerald van de Kaap,
Armin Dröge, Oliver and hex. Also a number of more 'traditionally
oriented' video artists will transgress the art scene and allow their
images to dance in the club scene. In the KvdG studio 'video lounge'
works will be shown by amongst others: Steve McQueen, Douglas Gordon,
Erwin Olaf and Jeffrey Shaw. The Video Lounge will be hosted by Ultra
Violet Productions. Rineke Dijkstra will premiere her new installation
'The Buss-club'. This night has been jointly organized by
Provid-mediaspecialist, MonteVideo/TBA, House of Techno Creations and the
World Wide Video Festival.<P>
<FONT SIZE=-1>
15th World Wide Video Festival<BR>
September 12 - 17, 1997<BR>
Exhibitions till 5 October, 1997<P>
The 15th World Wide Video Festival has been organized in collaboration
with several art institutes of Amsterdam, such as the Stedelijk Museum,
the Melkweg, Bureau Amsterdam, MonteVideo/TBA, W139, P.A.R.K. 4D TV,
Bellissima and the Maatschappij voor Oude en Nieuwe Media.<P>
<FONT FACE="New Courier, Courier" SIZE="3">Subsidizers</FONT><BR>
Ministry of Culture, Education & Science, VSB Foundation, Mondriaan
Foundation, Stichting Herinneringsfonds Vincent van Gogh,
ThuisKopiefonds, Danish Embassy, British Council<P>
<FONT FACE="New Courier, Courier" SIZE="3">Sponsors</FONT><BR>
Compaq, Sony Benelux, Vidisquare, Silicon Graphics, Varig Airlines<P>
<FONT FACE="New Courier, Courier" SIZE="3">Addresses exhibition
sites</FONT><BR>
Stedelijk Museum, Paulus Potterstraat 13, telephone 020 573 29 11<BR>
Melkweg, Lijnbaansgracht 234, telephone 020 624 17 77<BR>
Bureau Amsterdam, Rozenstraat 59, telephone 020 422 04 71<BR>
MonteVideo/TBA, Keizersgracht 264, telephone 020 623 71 01<BR>
P.A.R.K. 4D TV, Eerste van de Helststraat, telephone 020 639 04 14<P>
<FONT FACE="New Courier, Courier" SIZE="3">Information, guest and press
desk</FONT><BR>
From 1 September and during the festival,<BR>
Overtoom 141, Amsterdam,<BR>
telephone 020 616 86 66/420 77 29, fax 020 421 38 28<P>
This location can be reached by tram number 1 and is well within walking
distance form both the Stedelijk Museum and the Melkweg.<P>
For more detailed information see also our website <A
HREF="http://www.Desk.nl/~wwvf"
TARGET=_top>http://www.Desk.nl/~wwvf</A><P>
<FONT FACE="New Courier, Courier" SIZE="3">Opening hours and entrance
fees</FONT><BR>
Stedelijk Museum 10 am - 6 pm; fl 9,-<BR>
Melkweg 8 pm - 2 pm; fl 20 Friday and Saturday;<BR>
fl 15,- Sunday through Wednesday<BR>
Reservations for the performances in the Theaterzaal of the Melkweg can
be made only on the day of the performance itself.<BR>
Entrance fee for the vj/dj party on Saturday (half past midnight - 5 am)
is fl 10,-<BR>
Bureau Amsterdam, 11 am - 5 pm, free admission<BR>
MonteVideo/TBA, 10 am - 5 pm, free admission<P>
A festival pass will cost fl 50,- and can be bought at the Stedelijk
Museum, de Melkweg and at the information desk.<BR>
A passport photograph is required!<P>
Seats for all scheduled festival events and performances will be
available on a first come, first served basis.<P>
<FONT FACE="New Courier, Courier" SIZE="3">Catalogue</FONT><BR>
The 15th World Wide Video Festival will publish an extensive full colour
catalogue with descriptions in both Dutch and English of all selected
works, as well as interviews with artists like Gusztáv
Hámos, Francisco Ruiz de Infante, Zoe Beloff and Walter Verdin.
This jubilee catalogue will include an exhaustive index of all 15
festivals. Catalogues from previous years are all still available.<P>
<FONT FACE="New Courier, Courier" SIZE="3">CD-Rom</FONT><BR>
Complementary to the festival and the catalogue a CD-Rom will be produced
after the festival, with visual reports from performances, interviews and
the exhibition.<P>
<FONT FACE="New Courier, Courier" SIZE="3">Art Book</FONT><BR>
From 12 September till 5 October this renowned contemporary art bookshop
will open a temporary branch in the New Wing of the Stedelijk Museum,
dedicated to books and videos about modern art and media.<P>
<FONT FACE="New Courier, Courier" SIZE="3">Festival bar /
restaurant</FONT><BR>
In the Melkweg bar/restaurant 'De Komeet' is open from 5.30 pm till 10
pm</FONT><P>
</DIR>
<PRE>
World Wide Video Festival
Kloveniersburgwal 47
1011 JX Amsterdam
telefoon 020 420 77 29
telefax 020 421 38 28
<A HREF="mailto:wwvf@wwvf.demon.nl">wwvf@wwvf.demon.nl</A>.
</PRE>
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