As deep as our sleep, as fast as your heart, 2001, is the work of Emmanuelle Antille, a young artist from Lausanne, and it's an exciting departure from the sybaritic, ambient work of the Zurich circle around Pipilotti Rist and Ugo Rondinone, known for their atmospheric images and tapestries of sound. Doug Aitken's installations, with their disjointed narrative structures, seem a more appropriate comparison. But Antille blurs the definitions of genres even more radically. A simple plot, as if conceived for the kind of psychological drama at which John Cassavetes used to excel in his films starring

In every respect, Claudio Moser's works deal with transition zones. The motifs of his large-format photographs define a poetics of non-sites that couldn't be less spectacular. Where the city peters out, where civilization meets nature, Moser records lattice fences, smashed-in windows, and scaffolding. He isolates individual moments from the experiential continuum of a pedestrian wandering along the city's edge, but without adopting the stance of a social documentarian. Rather, he combines formal concerns—the frontality of the structuring lattices and branches seems to hold the observer's