The existence of the art work - archive and diagram

Deleuze terms a shift from the archive towards a diagram. 2 This shift in meaning could also be called a shift from the static, representational problems towards dynamic, diagramatic systems.

When the works "20:50", "Studio 016" and "Project Room South" are not exhibited (in an exhibition place), they are archived, they exist merely in a form of inscription (sketches and plans for example).

They become materialised according to the need, that is when they are exhibited, installed in an exhibition place, when they become an art work. They are physical, but in an unpredictable, dynamic system. This is facilitated by the conceptual diagram which the author, the artist allows. The diagram is not an instrumentalised idea, since it is not created in a deterministic way. It is only predicted. The diagram, which allows activity, is a primal concept. These are open, unfixed systems. According to Foucault "The diagram is no longer an auditory visual archive but a map, a chartography that is coextensive with the whole social field. It is an abstract machine" 3 (Gilles Deleuze)

Inter-relations - we are all related

Inter-relations are possible. Their existence, however, is not necessary.

An art object, still archived, becomes an art work when all dynamic, active and changing inter-relations are fulfilled. Inter-relations appear between the art object, the exhibition place and the spectator, whose role I also had the opportunity to experience. Inter-relations are the essence of these art works. That which can be experienced is the set of inter-relations. Due to the elementary characteristics of these works, the experience of effects, and therefor the above mentioned inter-relations are the only components which synthesise the work of the artist, the author, as well as the art work object itself.

The art object is exposed to changes in the environment and in its spectators. All that is left over from the artist's or author's control helps to accomplish the art work. Such an art work forms a coherent structure. What can experienced are the effects of the coherent structure. The characteristic of a coherent structure is intensity. If the coherent structure were extensive (it is not) it would eliminate differences of the art work. This very process of affiliation and of attraction allows transience in the work. The effects of the "20:50" and "Project Room South" works are temporary, their effectiveness decreases through the repetition of the same relationship. If we observe the work in the same time, in the same gallery room and in the same way then the effectiveness of the work is gradually reduced.

The experiencing of effects is momentary and based on the activation of senses. The experience is pure perception.

The spectator does not need any references and familiarisation; (die) Einfühlung is not necessary. The relationship between the exhibition place and an art object is objective and independent of the visitor.

This relationship can be "site specific" or site specific and temporal.

If it is temporal then one of the components is variable (for instance the influence of the non-physical component of the exhibition place, the exterior light which changes over time).

"The reality is a continual becoming. It creates or repeats itself, but it is never something made." (Henri Bergson)

more (20:50, Project Room South, Studio 016)