(1) How long have you been making installations?
Since 1982, at M.I.T./USA.
I do a wide range of work on communications with and without technology. Installations permit me to organize space and I need them for the interactive behaviour in them.
I like them because:
- I can follow-up in them, as a series.
- They are perceived as useful in setting up science experiments, too.
- They describe our immediate cultural future, as from 1982.
The science dimension and the network aesthetics they relate to.
Most traditional artworks are currently decorative. Installations permit me to organize space and I need them for the interactive behaviour in them.
Size depends on the environment of the organism. For materials, any video-communications equipment will do: simple slowscan, or the latest video conferencing equipment (usually 2 cameras, and minimum 2 tv-monitors will do, plus cables).
Smallest: “Face to Face - 1” (unless extended). Largest: “Face to Face - 2” (as it necessarily involves geographical distance).
“Face to Face” can be re-formed to fit any environment (exactly the same minimal equipment can permit us a sequence of different installations).
I need electricity to activate the “Face to Face” but I don't need it to illustrate the concepts involved! And not any technology to start with!
I work on my own anyway. But I end up having proposals. Requests means I will be doing “Face to Face” in public and I like the challange, plus I enjoy the complexity of public policy and legislation involved.
I think it is an educational artwork.
The process can: my survival, to keep on working. And of doing the work on site. I get paid indirectly. It is not the materials of an installation, but how I anticipate them.
People who know my work have reacted against occasional attempts to copy it. People who did copy have been unable to pursue the work anyway (whether in USA or in Greece).