Installation Project 98 · Installáció Projekt 98



(2) Why did you choose to make installations and not anything else? (→ selected answers)











AKENATON / DOC/K/S (F): - We began doing installations thinking, that it was the best way for the enrichment of poetic language allowing to their multiplicity of modes. In the beginning it was also a way to go beyond the boundaries of "academic" visual poetry which seemed then to roam the art galleries and books and overlooked altogether certain developments of contemporary art.

Tiziana BARACCHI (I): - Installation is the best possibility to work in and over the space.

Vittore BARONI (I): - I have always been interested in several disciplines at once, so I started with photos, collages and assemblages and the next logical step was installations, that I did at home, in my garden, in the streets of Forte dei Marmi and in front of the town art gallery. It's a bit difficult to tell the difference between the installations and happenings I did at the time because I always liked a certain amount of intervention from the part of the audience.

Lilian A. BELL (USA): - I love assemblage, fragments and the dialogue between object, site and observer.

David BORAWSKI (USA): - The individual pieces that I had been making in the studio became more challenging when there were two or three set up so close that you could not see one without the influence of the others, so I decided to exhibit them that way.

Luisella CARRETTA (I): - There came a moment in my artistic career when I felt the need to reconstruct something of the emotions and atmosphere of the natural spaces where I had made the observations which formed the basis of my drawings of the flight of birds. For me these were moments of intense involvement.

Andrzej DUDEK-DÜRER (PL): - Installation is just another form of my artistic idea, is a part of my performance activity. This is a different relation with space and time, gives possibility of progress and transformation.

Luc FIERENS (B): - I created visual poetry / collages and when I started my involvement with the Mail-art network in 1984 I felt that I could realize artworks with several techniques and media: collage and occasionally wooden sculpture, and also installation. I did choose to make an installation because I wanted the implementation of a particular artefact in a certain context.

György GALÁNTAI (H): - During my art studies I got more and more convinced that where I had to search for art was outside art. In this sense, I think installing is a working method and/or the operation means of the art strategy, therefore I cannot start working without having worded my aim, at least in the form of questions.

Péter KECSKÉS (H): - I consider installations to be the possible scene for the extension of my works where the relation between image and space and situations in-between different medias could take place.

Július KOLLER (SK): - By installations I express ideas which cannot be completely demonstrated in single objects.

Ruggero MAGGI (I): - I love space - I smell space.

Willi R. MELNIKOV-STARQUIST (RUS): - Installation is the "main kind of mankind's" (the author's term) synthesis of cultural and/or behavioural types and includes all the levels of imagination we may find in the world.

Luca MITI (I): - Installation is just an instrument for me like any other instrument (a piano, a performance etc.).

Mit MITROPOULOS (GR): - I do a wide range of work on communications with and without technology. Installations permit me to organize space and I need them for the interactive behaviour in them.

Emilio MORANDI (I): - Automatic derivation from my action, art behaviour, performances in the area of painting.

Jean-François ROBIC (F): - Installation is one way among others, that permits to work more spatially and concretely with objects or chosen materials. In my works, installation can be related to a place (rarely), or connected with my copy-art and mail-art work. It can be bound with my sculpture work when it exceeds simple assembling of fixed materials to extend in space due to relations among objects.

Lada SEGA (SLO): - Unlimited way of communication and expression.

Rod SUMMERS (NL): - The initial concept of a work suggests whether it will be a performance, graphic work or installation.

W. Mark SUTHERLAND (CDN): - Installations mirror the ephemeral quality of human life (time and space). Likewise, they are ideally suited to creative investigations of form and process.

József TASNÁDI (H): - If someone is interested in the issue of the relations - and not "only" from the point of view of art - he will necessarily start to think about installations, about specialized synthetic way of questioning, about interaction, net of influences, way of organizing things, where a hypothesis of isolated existence would be almost excluded, where everything could be defined exclusively by its relation to the environment (of any nature), where emphasis would fall not on individual events, but on their connectivity to others, or at least on the exigence of such connection.

Bene TREVISAN (BR): - From the moment the work revealed that a support of the space to interact was needed.


(3) What do you think of your own works?

(4) What do you think the difference is between your own work and other installations?

(5) What do you think of the relationship of traditional artwork and installation?

(6) What is the size and material of an installation determined by?

(7) Could you mention the installation you consider to be the largest and the smallest one?

(8) Is there any object or idea that cannot be installed?

(9) How does environment affect the installation of the work?

(10) Do you know any fact that restricts the possibilities of installation?

(11) Do you like making installation for order or at request?

(12) What do you think of preserving an installation?

(13) Can the value of an installation be estimated and how?

(14) How does copyright apply to installations preserved only in documents?