XMAS is the second exhibition at outLINE of artists associated with the London-based artists' initiative Five Years. For this show the six artists have worked in three pairs, each couple playing out a dialogue between their works in relation to outLINE's three rooms.

In Room 1 digital video work by Edward Dorrian is presented alongside two paintings from a series by Marc Hulson. Dorrian's piece responds to the erotic subject matter of these specific paintings, which are based on climactic images from hard core pornography: in Dorrian's piece the painter has been filmed while looking at hard core porn and masturbating. Only the face and neck are visible against a dark background, focussing attention on the subject's gaze (trained on the out of frame image) and the suliminal registers of arousal in his expression. The footage we see on the monitor has been digititally manipulated using a programme which allows it to be slowed down, reversed or freeze framed. On another monitor we see footage of the same subject in the act of 'playing with' his own image (the same image we see on the first monitor - again out of frame). The auto-voyeuristic circuit set up between the two videos and the paintings is occasionally accompanied by a background soundtrack of overlapping arias from two separate operas.

Room 2 contains works by Esther Planas and Sarah Woodfine which set up a dialogue based on common preoccupations with the gothic, kitsch and an underlying elegaic poetry. Planas works with pop cultural icons and idioms which hold a personal significance for her and has recently produced several pieces which specifically address the doomed romance of rock stardom. Her installation for Outline is essentially a response to the work and mythology of Ian Curtis and Joy Division. Incorporating a photocopied image of Planas posing with her own band, Dirty Snow, in a cemetery, and a newly recorded song by Dirty Snow called Losing Control. Planas's funereal installation is juxtaposed with Woodfine's highly rendered, obsessively detailed pencil drawings of enigmatic, church-like buildings.

The entrance to Room 3 has been partially blocked off by Denise Hawrysio's installation. Hawrysio has built a wall which relates to the architecture of the gallery. Painted green, the wall has been repeatedly marked with an axe. Inside the room, Alex Schady has covered an area behind Hawrysio's wall with platicene. The area covered corresponds to the distance the artist is able to reach from a fixed seated position. Beyond this, at the back of the room, is a video piece in which Schady collaborates with the Israeli artist Hadas Kedar. A series of unsuspecting friends, relatives and strangers are subjected to Kedar's and Schady's attempts to scare them.