Essay Dominik Barbier, 1990
“Installation” is the word coined in 1874 by the critic Duran to describe a work by Degas: a black and white photograph that was later transcribed to canvas. The painter-protographer’s idea was simply to exhibit the picture and the canvas side by side, with no comments. Upon advice of Baudelaire, to whom photography had mostly contributed to the “empoverishment of French artistic genius”, Degas apparently gave up his former Project and merely the canvas, “Dancer in front of the mirror” was shown at the Duran-Ruel gallery. Degas was thus the creator of this concept of installation, which would pervade the history of modern art, according to which the artistc object exists as a function of the rest of the world and specially of the viewer himself. Likewise, modern physics revealed that there is no pre-existent reality. The only real thing is the observer’s point of view.
This also means that there are no wall paintings or engraving on the paleolyhic caves, there are no pictures, sculptures, rose Windows, frescoes, chaptels or colums in Middle Age Cathedrals. There is no object. There is just one single, complex set, organized for a ritual. In other words, there is an installation.
The caves show an art that is not merely pre-historical. At this site the images (idols) cannot be separated from the architecture (nature) and the visitors takes part in the ritual (communication with dead). Together, they create a representation of the Universe.
Caves, cathedrals, mysteries... religious times. Theatre, ballet, opera... in more profane one. The whole spectacle brings together all forms of art. An installation is the reflection of the world: imago mundi. Electronic art is still at pre-historical stage, when everything is still possible, everything remains to be invented. It is the time of dreams and the time of many dangers.
8th Fotoptica Internacional Video Festival. 09 a 15 de Novembro de 1990. p. 83 e p. 84.