The development of video art in Sweden did not get moving until the early 90’s, despite Sweden’s prominent history within documentary and experimental film making with artists such as Viking Eggeling, Peter Weiss etc. The interest in experimental film ceased in the 80’s, but began to flourish in the early 90’s alongside the evolvement of video art. Video art created its own territory and showed some difficulties in learning from other areas. The audience was an art audience, and with their lack of experience of the medium they viewed video art with references to television and film rather than other visual art.

The development of video art as an artistic medium has been intense. Over the past few years the medium has been technically simplified; it has become more accessible and computers and editing equipment are now taken for granted on Art Schools across the country. The initial borders between fields have now vanished, and now there is a strong interest from both film and video practicians to learn from each other.

Snowflakes show an interest for social collaborations across borders. Artists move like ambassadors in completely different global networks than politicians and businessmen for instance, and they open other doors. There is a connection between the metaphorical possibilities in ordinary objects and events, social patterns and codes. The video works are exclusively produced by visual artists using the video media solely or as part of their artistry. The programme has also been screened at Bangkok International Film Festival in December 2001.