Installation Project 98 · Installáció Projekt 98

(1) How long have you been making installations?

Sala 1 began with installations and sculpture in 1970.

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

Our founder, Tito, a priest/sculptor - has always favored this. Since our space is an ex-church, installations work best.

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

Installation is unique in that it is done for a specific architectural and artistis situation and there is no limit. The fact, that often it doesn't exist after the end of the exhibition, is also interesting. There is also the context of size and intellectual complexity as well as use of materials that is often unique.

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

Many of our installations were so extensive and complicated that it would be hard to choose. Perhaps Kawamata's baroque work for our space or Bosset's pressurized serranda... Joel Hubaut's sound installation using thousands of found objects, flour, and 6 altars featuring Italian coffee machines - to name a few. Smallest would be Claudio Massini's tiny brick works that were literally hidden in the space.

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

Sure, but we haven't found it yet.

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

Environment should be the most important aspect of an installation.

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


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

We've tried this and it doesn't really work. In the end, the work is dismantled and destroyed.

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

Too difficult to answer here.

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

Can't answer that.

Sala 1 / Mary Angela SCHROTH (I)