(1) How long have you been making installations?
Since 1963 (objects, combi-paintings), in exhibition since 1967 (signs, instructions).
By installations I express ideas which cannot be completely demonstrated in single objects. I work however with artefacts and other media, too.
Without my artworks I couldn't communicate with the world of contemporary culture and civilisation. They are my "Ufonaut's Signals".
Simplicity, rationality and playful irony.
Idea and material character (dimensions, spatiality) of installations extend (spread) creation facilities (possibilities) of fine art.
Author's idea and space.
The smallest were "Objects" (1963) and my largest installation was "The Third Wave" (1994) on exhibition "Der Riss Im Raum" in Martin Gropius Bau in Berlin (tape around the columns of atrium).
Perhaps metaphysical, supernatural, non-antrophocentric phenomenons. But it is question of time-space. What is impossible today will be normal tomorrow.
Finance, materials, social terms, political situation (but it refers to larger, technical pretentious installations).
For order, yes, but the best for me is my own impulse.
Preserving is possible only at a museum/institution (and it depends on materials).
The value of an artwork has a "flux-character", in time changeable, moving. Experts can only propose hypotheses.
It depends on copyright
laws of the different countries. The installation is the original, not the documentation.
And the project can be original. But when an installation had been long ago,
or doesn't exist anymore, the documentation gains a value, too.
Július KOLLER (SL)