(1) How long have you been making installations?
I made my first installation when I was three, in 1956, in honour of the Hungarian Revolution - when I smeared the hated (for its red colour) tomato soup all over the symbolic 48 m2 of our (otherwise well-furnitured, middle-class style) room and kitchen flat. For that, then and later I had been much persecuted.
(2) Why did you choose to make installations and not anything else?
I didn't give any reason for my legendary '56 artwork then, neither gave my mum any reason for her slaps. Since the anatomy of the relationship between power and art has not changed for me.
...there might be a lot of reasons for that!
(3) What do you think of your own works?
...merely good.
(4) What do you think the difference is between your own work and other installations?
Sometimes, in good visibilitiy, I hope that from my own installations “I” look back into the world.
(5) What do you think of the relationship of traditional artwork and installation?
[The cookanger of a dedogsausaged kitchen is spiritualized from a mystic moodaxle parallel with a knifestabinto.]
(6) What is the size and material of an installation determined by?
The idea.
(7) Could you mention the installation you consider to be the largest and the smallest one?
The smallest is the CHIP, the biggest, let's say: all the cemeteries of the world.
(8) Is there any object or idea that cannot be installed?
I declare with the reminiscence of Wölflin's rudiments of art, that everything carries the possibility of its being installed! Turning back the the materialization of the idea I ask the question: who- and how could install the idea of the installation?
(9) How does environment affect the installation of the work?
Man with his extensive activity for transforming nature - from the Aswan dam to the partition of a small room of a co-tenancy - made master over the wild forces of nature in installation, as well... The global biological balance will not overturn till the concrete object of an installation has not taken action. (Compare: explosions in public places.)
(10) Do you know any fact that restricts the possibilities of installation?
The only and unchangeable reason is: the classical human stupidity.
(11) Do you like making installation for order or at request?
Not willingly - but in this matter there isn't a big crowd around me.
(12) What do you think of preserving an installation?
My opinion is the arithmetic mean of the “Cop Magazine” and “Art Today”, where the genre really is the highest common factor and the social guarantee of the ladder-mending on the social net is the lowest common multiple.
(13) Can the value of an installation be estimated and how?
Taking into account the BUX Index.
(14) How does copyright apply to installations preserved only in documents?
Similarly to the “preserved” (prisoned) installation - the copyright of a non-preserved artwork is the same; even if the author is uncertain, vague or unknown! The same applies to a known artist's non-existing artwork.