(1) How long have you been making installations?
My first real installation was made in 1988 for solo exhibition in Pécsi Galéria.
This is how I can express myself.
I beleive there is a thought behind them.
This is an independent media which is used differently by everyone. There is a lot of bluff here as well just like anywhere else. I like the most the installations made by the Poirier couple or Imre Wéber from the Hungarians. The installations made in the '70-s by Pop artists such as Kienholz, Paul Thek etc. were rather instructive for me.
They both are works of art. The installation disappears at the end of the exhibition, documentation could be problematic issue for art history. There is no good documentation, only attempts.
I suppose they are determined by the thought, the given space and the financial possibilities.
The smallest is: the installation built by Charles Simonds on his own body. The biggest could have been Paul Thek's work, "The death of a hippy" on the Dokumenta in Kassel or Kienholz's work about lynching of blacks shown in the same place in 1972 or in 1977.
No, there is not.
The environment is absolutely determinant - the exhibition space effects the installation.
The lack of ideas, thought or money.
I use to work for my own requests which I happily fulfill. (Perhaps I would be able to make a work for request in 1998.) I would like to create a work of a lasting material which would be permanent.
Photography, video, measurements, descriptions together could perhaps preserve somewhat, though the installation is the art of the moment.
I don't really understand this question as we have problems determining the value of a painting already. Art historians should value/rank the media itself. Perhaps most of these questions should be addressed to them, especially to those art historians who organize exhibitions and are present at the emergance of such works .
This is a complex issue, because the rights of the photographer making the documentations have to be considered as well.
(16) Your questions, if there is any, and your answers to them.
My question is: Why
do I always realize that my works should be documented when I had already dismantled
GELLÉR B. István (H)