(1) How long have you been making installations?
My first installation was made in 1986 for the memory of J. Beuys. It was called “Soft memory or pillow for the rabbit with hat”, measurements: 2m x 1m x 1,5m.
(2) Why did you choose to make installations and not anything else?
Then I felt this to be the most appropriate way of expression for this message. It had to be like a tomb or a monument in a space where one could walk around it, this space had a significant role as an energy field.
(3) What do you think of your own works?
My works are autobiographical. They often change like a program, other times they document. (“Freeing the feelings from a cold space”, 1979-'82; “Embroidery patterns to the dowry series”, 1984-'87; “Memory generator”, 1988; “Preserving the kitsch for posterity”, 1984-'97; “The work and the artificiality”, 1996-'98; “Therapy”, 1991-'98)
(4) What do you think the difference is between your own work and other installations?
My personal problems narrow down the clarity and unfortunately I can't think in materials. The form is always determined by the thought. That is why I like Boltansky because he can work from similar or repeating sources.
(5) What do you think of the relationship of traditional artwork and installation?
The relation between installation and traditional art is quite close in a way. Leonardo had already made plans for installations (I beleive it is mentioned by Ben Jakober too). Both could use similar composition elements like: structure, rythm, etc. but the installation purposefully activates the viewer, we could even talk about interactive works here, which is lacking from the traditional arts. Because here even the “emptyness” of space has a message (just like in the Chinese philosophy) and the viewer can play in the web of “space modulators” not only by thoughts. Perhaps the order of objects replacing linear writing modifies communication like photography did it at the beginning of our century. I think this way installation contributes to the emergence of a new language even if it was a virtual reality.
(6) What is the size and material of an installation determined by?
Its size and materials are determined by the thought, the place and the sponsors.
(7) Could you mention the installation you consider to be the largest and the smallest one?
The packages of Christo are pretty big I think, if they are installations, but I haven't recorded records. The smallest is perhaps a hole drilled into the floor of a gallery which could also be virtually the biggest if we looked at the diameter of Earth as its depth... (but it is already a concept and not an installation, isn’t it?)
(8) Is there any object or idea that cannot be installed?
Time, light and soul; only the traps of these could be installed.
(9) How does environment affect the installation of the work?
The youth reacts positively.
(10) Do you know any fact that restricts the possibilities of installation?
Money.
(11) Do you like making installation for order or at request?
I have only made installations by being invited and I would like to keep working this way.
(12) What do you think of preserving an installation?
Because it is temporary it is not ment to be preserved, unless perhaps on video or CD.
(13) Can the value of an installation be estimated and how?
Its value is spiritual and as such it works similarly to the traditional arts.
(14) How does copyright apply to installations preserved only in documents?
Copyright applies to works you find worthy for it.
(16) Your questions, if there is any, and your answers to them.
I have many questions but I don't know the answers for them.