Time for a small anniversary and drawing a balance. The video culture is young, dating back to the works of Nam June Paik in 1963. Contrary to film, video has never had (and probably never will have) an aura. Contrary to television it is not a mass medium. Just the same, the importance of video is undeniable. It has its claim of being an independent production's apparatus, and, for the first time, has opened up democratic access to an audiovisual medium - two factors that form the basis of a playground in the word's best sense for creative visual works. Video has has almost completely overshadowed the function of the short and the experimental film, while giving creative impulses to other media as well. Still it has kept its independence. With the VideoFest the Medien Operative has always claimed to reflect the development of international video culture and to represent a rich variety of genres - productions, sculptures, or selections from fields like interactive media and computer animation that break down old boundaries. This seems to work well, judging from the growing number of visitors, accredited guests and media coverage and the continuous increase in tape entries. Our mailing list for entry forms includes 60 countries from every continent by now. The VideoFest has become an international meeting-point for videomakers, where a manifold selection can be seen and where meetings, conferences, and a commercial video market for Independents take place.lt happens more often now that representatives of the VideoFest are invited abroad to show a selection of the festival's pro- ramme that best reflects the state of video culture. And the VideoFest is participating with various European initiatives to support video culture. It also helps initiatives in Berlin to distribute this young medium. Within just five years, the VideoFest has become an institution. Only one year ago, its collapse seemed imminent when the Medien Operative, its festival team's willing-ness and their capacity to continue was jeopardized by an insufficient budget. The Senator for Cultural Affairs, Roloff-Momin, has acknowledged the festival’s importance for Berlin and has granted the VideoFest a substantial support. Yet the funds raised, including those from other institutions or sponsors, are still insufficient, according to the needs of a metropolis, organizing a festival for the electronic media. Just the same, we finally have the means to start working. The edition 92 stresses the USA and eastern Europe, France is emerging more and more as a "video country", and so it makes sense to invite, for the first time, a French artist in residence: Jean-Louis Le Tacon has produced a multi-faceted body of work. More than in previous years, renowned videomakers will show their works in person: Jeanne C. Finley (USA), Alexander Hahn (CH/USA), Joan Jonas (USA), Fabrizio Plessi (I), Shelly Silver (USA) and many more from Europe and Latin America. The edition 92 is probably far more varied than all of the previous editions: unwieldy, intelligent, uncomfortable, entertaining - distinguished by a creative use of the electronic means. This comes a bit as a surprise since 1991 was certainly not a glorious year as far as the international video culture was concerned. Relatively few tapes were produced - the quality was often not more than average. This year's programme is, nevertheless, of high quality thanks to the rapidly established reputation of the VideoFest and to developing working contacts in all parts of the world. Thanks to all who support the VideoFest. To all guests and visitors we wish twelve intense days.

Hartmut Horst, MedienOperative

Micky Kwella, VideoFest