Installation Project 98 · Installáció Projekt 98








(1) How long have you been making installations?

Since 1981.

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

Automatic derivation from my action, art behaviour, performances in the area painting.

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

Adventure in transfer with the instruments and memory of "making" paintings.

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

In my works I try to free the bleeding canvas and frame from the nails, take care with gauze and cotton.

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

For me installation is out of the academic disciplines, in a total freedom of expression.

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

By any form or dimension in dialectic relation to reach a creative stimulus.

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

There are no limitations in the phenomenon installation, it is strictly in relationship with space, time, form, light, sound.

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

I am for the maximum freedom of working with conceptual ideas and materials.

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

The installation of my work is possible in very little gallery-space, in museum-space, in any urban space or in the forest.

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

In the last "Perfomedia Festival" in Venice - June 1997 - residents protested against the temporary installation of pieces of animal meat hanging on a rope across the canal. (Installation by Bruno Pistorio.)

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

I make installation in any type of environment if it corresponds to my communicative necessities, also at request.

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

This is a big problem for me - sometime it remains in site in the gallery for the collection, sometime I dismantle and pack it and preserve in my studio.

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

It isn't possible for me to give or estimate the value of an installation because it cannot be reduced at a selection of objects put into a place, but this is a "special event" with a past and future or simply the emotion of one instant.

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

Usually my installations stay in package in my archive or stay in site with only copyright of the video-photo documentation.

Emilio MORANDI (I)

work/munka