(1) How long have you been making installations?
Since 1963 (objects, combi-paintings), in exhibition since 1967 (signs, instructions).
(2) Why did you choose to make installations and not anything else?
By installations I express ideas which cannot be completely demonstrated in single objects. I work however with artefacts and other media, too.
(3) What do you think of your own works?
Without my artworks I couldn't communicate with the world of contemporary culture and civilisation. They are my “Ufonaut's Signals”.
(4) What do you think the difference is between your own work and other installations?
Simplicity, rationality and playful irony.
(5) What do you think of the relationship of traditional artwork and installation?
Idea and material character (dimensions, spatiality) of installations extend (spread) creation facilities (possibilities) of fine art.
(6) What is the size and material of an installation determined by?
Author's idea and space.
(7) Could you mention the installation you consider to be the largest and the smallest one?
The smallest were “Objects” (1963) and my largest installation was “The Third Wave” (1994) on exhibition “Der Riss Im Raum” in Martin Gropius Bau in Berlin (tape around the columns of atrium).
(8) Is there any object or idea that cannot be installed?
Perhaps metaphysical, supernatural, non-antrophocentric phenomenons. But it is question of time-space. What is impossible today will be normal tomorrow.
(9) How does environment affect the installation of the work?
Partly.
(10) Do you know any fact that restricts the possibilities of installation?
Finance, materials, social terms, political situation (but it refers to larger, technical pretentious installations).
(11) Do you like making installation for order or at request?
For order, yes, but the best for me is my own impulse.
(12) What do you think of preserving an installation?
Preserving is possible only at a museum/institution (and it depends on materials).
(13) Can the value of an installation be estimated and how?
The value of an artwork has a “flux-character”, in time changeable, moving. Experts can only propose hypotheses.
(14) How does copyright apply to installations preserved only in documents?
It depends on copyright laws of the different countries. The installation is the original, not the documentation. And the project can be original. But when an installation had been long ago, or doesn't exist anymore, the documentation gains a value, too.