The history of cinema is a history of technological experiment, of spectator-spectacle relations, and of production, distribution and presentation mechanisms that yoke the cinema of economic, political and ideological conditions. Above all it is a history of creative exploration of the uniquely variegated expressive capabilities of this remarkable medium. Despite cinema’s heritage of technological and creative diversity, it is Hollywood that has come to define its dominant forms of production and distribution, its technological apparatus and its narrative forms. But the current hegemony of the Hollywood model of movie making is about to be questioned by the more radically new potentialities of the digital media technologies, which is why the rise of the video, computer game and location based entertainment industries is such a significant phenomena. These new digital contexts are setting an appropriate platform for the further evolution of the traditions of independent, experimental and expanded avantgarde cinema.

Future Cinema is the first major international exhibition of current art practice in the domain of video, film, computer and web based installations that embody and anticipate new cinematic techniques and modes of expression. The exhibition for the first time brings together a large number of highly significant installations, multimedia and Net-based works produced in the digital field by both young and established international artists exploring algorithmic procedures and immersive and technologically innovative environment, such as multi-screen, panoramic, and dome projections, and multi-location virtual environments. Another focus is on works exploring creative approaches to the design of interactive, non-linear, modular narrative content.

Exhibited artworks:

Eija-Liisa Ahtila, Consolation Service, 1999
Judith Barry, Imagination, Dead Imagine, 1991
Zoe Beloff, The influencing machine of Miss Natalija A., 2001
Maurice Benayoun, So.So.So. (Somebody, Somewhere, Sometime), 2002
Jean-Louis Boissier, The Sensitive Morals, 2001
Jean Michel Bruyère, Si Poteris Narrare, Licet, 2002
Jim Campbell, Church on Fifth Avenue, 2001
Jim Campbell, Illuminated Average #1: Hitchcock's Psycho, 2000
Janet Cardiff, Playhouse, 1997
YOUNG-HAE CHANG HEAVY INDUSTRIES, seventeen works on the web, 2002
Peter Cornwell, MetaPlex, 2002
Luc Courchesne, The Visitor: Living by Numbers, 2001
Max Dean and Kristan Horton, Be Me, 2002
Max Dean, Mist, 2002
Dennis Del Favero, Pentimento, 2002
Toni Dave, Sally or the Bubble Burst, 2002
Daniel Egg, Box 3 ”Dialog", 1997
Shelley Eshkar and Paul Kaiser, Pedestrian, 2002
Péter Forgács and the Labyrinth Project, The Danube Exodus: The Rippling Currents of the River, 2002
Masaki Fujihata, Field-Work@Alsace, 2002
Thomas Fürstner, Waypointing Weibel's Vienna, 2002
Christopher Hales, One-person Touchscreen Cinema Showing 14 Interactive Movies, 1995-2002
Vít Havránek, Pioneers of Interactive Czech Films (50s-60s), 2002
Agnes Hegedüs, Their Things Spoken, 2001
Agnes Hegedüs, Bernd Lintermann, Jeffrey Shaw, reconFiguring the CAVE, 2001
Axel Heide, Onesandzeros, Philip Pocock, Gregor Stehle, Unmovie, 2002
Gary Hill, Language Willing, 2002
Perry Hoberman, The Sub-Division of the Electric Light, 1996
Perry Hoberman, Let's Make a Monster, 2001-2003
Ian Howard, SweetStalking, 2001
Paul Johnson, Red v. 2.0, Green v. 2.0, Blue v. 2.0, 2002
Isaac Julien, The Long Road to Mazatlán, 1999
William Kentridge, Overvloed, 1999
Darij Kreuh, Davide Grassi, Brainscore, 2000
Norman M. Klein, with Rosemary Comella, Andreas Kratky, and the Labyrinth Project, Bleeding Through: Layers of Los Angeles 1920-1986, 2002
Marc Lafia with Didi Fire, Variable Montage, 2002
George Legrady with Rosemary Comella, Slippery Traces, 1996
Julien Maire, Demi-Pas [Half Step], 2002
Lev Manovich, Soft Cinema, 2002
Chris Marker, Immemory, 1997
Jennifer and Kevin McCoy, Horror Chase, 2002
Margie Medlin, Miss World, 2002
Michael Naimark, Be Now Here, 1995-2002
Mark Napier, The Waiting Room, 2002
Werner Nekes, Was geschah wirklich zwischen den Bildern (Film Before Film), 1984
Werner Nekes, Media Magica I-V, 1995-1997
Susan Norrie, Defile, 2001
Pat O'Neill, with Rosemary Comella, Kristy H. A. Kang, and the Labyrinth Project, Tracing the Decay of Fiction: Encounters with a Film by Pat O’Neill, 2002
Martin Reinhart, tx-dance. motion studies in space and time, 2002
Constanze Ruhm, Coming Attraction: X Characters (in search of an author), 2002-2003
Joachim Sauter and Dirk Lüsebrink, Invisible Shape of Things Past, 1995/2001
Michael Schmid, Jörn Müller-Quade, Thomas Beth, Laserfilm, 2000
Bill Seaman, The Exquisite Mechanism of Shivers, 1997
Jeffrey Shaw, PLACE - Ruhr, 2000
Jeffrey Shaw, PLACE - Urbanity, 2002
Karl Sims, Evolved Virtual Creatures, 1994
Michael Snow, anarchive 2: Digital Snow, 2002
Caspar Stracke, z2 [zuse strip], 2002
Synthetic Characters Group, MIT Media Lab, AlphaWolf, 2001
Peter Weibel, The Panoptic Society or Immortally in Love with Death, 2001
Maciej Wisniewski, Instant Places, 2002
Christian Ziegler, 66movingimages, 1998-2002