(1) How long have you been making installations?
The first public installa(c)tion we have realized was in 1987 (Festival La Parola Separata, Sassari).
(2) Why did you choose to make installations and not anything else?
We don't ONLY do installations! We began doing installations thinking, then it was the best way for the enrichment of poetic language allowing to their multiplicity of modes. In the beginning it was also a way to go beyond the boundaries of “academic” visual poetry which seemed then to roam the art galeries and books and overlooked altogether certain developments of contemporary art.
(3) What do you think of your own works?
Fab!
(4) What do you think the difference is between your own work and other installations?
a) Most of the time they're a result of a performance. That's why we refer to them as installa(c)tions.
b) Rather than plastic, we see them as kind of TEXT.
(5) What do you think of the relationship of traditional artwork and installation?
What do you mean by “traditional”??? - Indians, africans etc... have always made installations. A museum is an installation. A town is another. Look around and see more.
(6) What is the size and material of an installation determined by?
The meaning determines first of all the material and the size. Further more “size” is not an objective datum but related to the room the installation interacts with.
(7) Could you mention the installation you consider to be the largest and the smallest one?
“Large”, “small” are nonsensical. Is “The Pedestal of the World” by Manzoni is large or small????
(8) Is there any object or idea that cannot be installed?
Bananas don't grow in the North Pole.
(9) How does environment affect the installation of the work?
The installation is not “affected” by the environment, it is part of it, it “installs” it.
(10) Do you know any fact that restricts the possibilities of installation?
It's a long way to TipaHungary. Travelling is expensive. Plus the strikes. Gold is f. expensive. If ever Artpool invites us around we'll gladly come to Budapest.
(11) Do you like making installation for order or at request?
Affirmative.
(12) What do you think of preserving an installation?
It depends on the installation. Some imply total annihilation, others a natural death, others still that they be regularly set up again, for the rest a text, a photograph, a protocol, a film are the kind of surviving artefacts they need.
(13) Can the value of an installation be estimated and how?
C.f. Art history.
(14) How does copyright apply to installations preserved only in documents?
Freeware. Shareware. Ask Microsoft's judicial department.
(16) Your questions, if there is any, and your answers to them.
“Pourquoi ne peint on plus comme Poussin peignait?” - in French in the text (Akenaton).
Sometimes we feel like writing books and to do so, sometimes we use a video camera, do preformances, numerical poems, none are thought as exclusive forms: “the poem is the sum of the infinite number of forms inside which it always feels equally tightly cramped up” - (akenaton).