Installation Project 98 · Installáció Projekt 98

participants ↓ résztvevők

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

AKENATON / DOC/K/S (F): - It depends on the installation. Some imply total annihilation, others a natural death, others still that they could be regularly set up again, for the rest a text, a photograph, a protocol, a film are the kind of surviving artefacts they need.

Miklós Zoltán BAJI / BMZ (H): - It's good, but they can be reproduced from a good description, or can be rebuilt holding a different meaning.

Tiziana BARACCHI (I): - It is not necessary to preserve the installation: it often needs the work of time, weather and people.

Vittore BARONI (I): - I've seen a few in museums, they were interesting to see though you were not allowed to touch-use them as they probably were in the author's intentions. If it does not cause ecological problems, why not. I always hated land art and those huge Christo packages, how unsensitive they are to our environment, I prefer “traditional” ad billboards to that. The world is already turning into a big theme park, I prefer small harmless installations like Ray Johnson's MOTICOS.

Lilian A. BELL (USA): - Not interested - the very nature of an installation should be that it is temporary, a fleeting glimpse, ephemeral - change is growth - one can save some of the parts to use in future projects to continue exploring related concepts. An appreciation of a temporary, fragile environment is like a taste of chocolate: one can remember by documentation our enjoyment and appreciation!

David BORAWSKI (USA): - If an installation is not left in the original setting it is not the original installation. I prefer having an opportunity to re-install a piece, recombing it with other work, which changes the framework for its interpretation.

Monty CANTSIN (CDN): - Creates lots of new jobs and rental fees.

Luisella CARRETTA (I): - I see installations more as an ephemeral creative gesture than a work which is fixed in time.

Patricia COLLINS (GB): - I like to keep documentation + catalogue / book.

H. R. FRICKER (CH): - I often include a mechanism of self-destruction. (Writing in a landscape covered with snow)

György GALÁNTAI (H): - An installation preserves itself depending on its own abilities, that is to say, it is preserved if someone has any spiritual interest in it. The installations made before and after “art” - like other products as well - will still be downloadable and present in the unimaginably far future in the form of images generated by the digital code.

István GELLÉR B. (H): - Photography, video, measurements, descriptions together could perhaps preserve somewhat, though the installation is the art of the moment.

Dobrica KAMPERELIC (SRB): - Hm, it is necessary! But, usually, I pull down my installation after the show.

Sabrina LINDEMANN (NL): - I don't think it really fits to the character of installations. For me especially the idea of limited time is very attracting.

Jacalyn LOPEZ GARCIA (USA): - I believe documentation is very important.

Luca MITI (I): - An installation must not be preserved, it just has to follow the natural course of its decay.

Emilio MORANDI (I): - This is a big problem for me - sometimes it remains in site in the gallery for the collection, sometimes I dismantle and pack it and preserve it in my studio.

Keiichi NAKAMURA (J): - We can use video systems, personal computers (or photos).

Ronald SPERLING (BR): - It depends on the installation. We have the media to preserve an installation.

Rod SUMMERS (NL): - Some elements and documentation may be preserved (perhaps even recycled by the artist), but, by & large, when the period of the installation is over the physical elements should be disseminated, but I would make no strict rules on this subject.

Patricia TAVENNER (USA): - Fine and it is important to do so. But for me an installation is experiential and documentation of that installation is not. Big difference.

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

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

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

(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?