Installation Project 98 · Installáció Projekt 98

participants ↓ résztvevők

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

Miklós Zoltán BAJI / BMZ (H): - For me sacrality is initial, and I often collide it with the disgusting symbol-products of the consumer society.

Lilian A. BELL (USA): - Audiences frequently “borrow” parts of the installation and return them a few days later. Sometimes they take (and don't return) materials like xeroxed papers that look like they were meant to be picked up like information sheets. I get frantic phone calls from gallery directors about such things who think that the sanctity of “the art” has been violated!

Derek Michael BESANT (CDN/MEX): - I try to make a public setting into a private moment.

David BORAWSKI (USA): - My work is more about selection and placement of the individual pieces, which can and are reinstalled in other contexts with other pieces in other exhibitions.

Bruno CAPATTI (I): - My installations are the static parts of a dynamic process so the installation represents the same process.

Luisella CARRETTA (I): - It is difficult to comment on the differences between one's own work and that of another artist. An artist's energy is directed at penetrating as deeply as possible into his/her own field of research and it consequently becomes difficult to be sufficiently open towards other poetic directions, especially those that depart radically from one's own.

Billy X. CURMANO (USA): - I am not constrained by academia or the commercial market. I allow my personal vision, inner being and spiritual forces to guide me. Several installations have been constructed in remote or obscure locations and, in fact, may never be discovered; or if discovered will raise questions of how, why and by whom they were constructed.

György GALÁNTAI (H): - The ancient civilizations' cave paintings as well as the way more modern societies used art objects with political, religious or civil decorating purposes are all installations; so man has always installed. If we consider that the “language” of the times before the existence of language and writing was installation we also have to ask what is the important reason for such a wide-spread use of the same idea today? The principle of installation (everything is open and constantly changing) allows everything that has happened so far or is yet to happen to be clearly arranged and understandable. Art installations provide opportunity for all medial possibilities, thus they are able to join, as hypermedia, the unified structure of data. In this context the individual (the artist) is not an “author” but a permuter.

Péter KECSKÉS (H): - In my installations I consider important trying new, to me yet unknown ways of visual communication, visual languages; I often experiment with putting my own works into new context, or just putting together my previous finished/unfinished or not yet exhibited works.

Willi R. MELNIKOV-STARQUIST (RUS): - My works are pregnant with parts of future installation.

Jean-François ROBIC (F): - The only way to compare my installations to others is to precise the history and the context. Most of them are tied to my copy-art and mail-art activities.

Lada SEGA (SLO): - Most of my installations are products of different interventions in the nature: first comes the intervention and than the installation as a result of the intervention.

Rod SUMMERS (NL): - The ideas came from me, with all my programming and conscious efforts at de-programming.

(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?

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

(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?