The existing form is always a transitory state.
Residual elements of a disintegrated structure - "Touched objects" - may play a similar role as an external description of an event (written account, photo documentation, video recording etc.), but differ the way in which the magic law of “inner harmony” can be divided into a tangible one - based on the principle of touch, and an analogical one - based on the principle of resemblance. Naturally the documentation can be an integral element of the work’s overall structure. The elements of the disintegrated whole can either be left to the stream of self-transformation - their own life, used in new works, or be conserved and become relics. (The third category opens the question of the "museum principle" connected with the phenomenon of "fetishism" penetrating not only visual art...)
The elements of the disintegrated whole can either be left to the stream of self- transformation (theirs own life), used in new works, or be conserved and become relics. The third category opens the question of the "museum principle" connected with the phenomenon of "fetishism" affecting not only visual art.
Presentation as “exposed event” is carried out through purely practical operations. The act of giving oneself to the open process of precarious transformation offers a new orientation to the original fragmentary structure and implicates order from chaos.
Such a "Gestalt" is carried by an inner purpose and a structure that is analogical rather than allegorical. Such a work of art is not possible to handle as an object, as it is a process of presentation, experienced through the act of production.
With such works one cannot define any physical means, as they are in fact inter-medial.
Such an artefact has not a single meaning, but is an open multi-dimensional field of possibilities.
The text of such a presentation brake the distance between "writing" and "reading", in that the viewer-participant is involved in co-creation of its meaning. The author abstains from his supreme position and becomes co-author with the participating audience - in dialogue.
Such a work develops from the specificity of site. Through the form of environment an immediate presence in a situation manifests itself. Environment and architecture act as an energy field, into the frame of which a new shape grows. In the course of creation parts merge together with the whole, in coherence within the order, which implies them.
Presentation in such a way is most of all an experience.