Architecture of Interaction proved to be a very fertile mental construct for rethinking each our own working practices. Every three or four years I rethink the underlying theory of my work. I develop a ‘mental construct’ against which I rearrange my work. This process may be somewhat painful, but the moment it really gets going, it feels like a breath of fresh air. Doors can be opened, new spaces discovered. This helps me preserve my independence and integrity as an artist. I love theory as much as I love the moment I can forget about it all again, and dive into another flow of work. Like summer after a spring clean. Prior to Architecture of Interaction I embarked on a theoretical journey — research of Undisciplined Art in the Netherlands 2000 – 2002 — which concerned the specific presuppositions and criteria of particular artistic disciplines. What I learned and tried to convey to other people is that the mere process of studying different presuppositions and criteria transforms the very limitations that define a discipline into possibilities of choice.

For me Architecture of Interaction became a continuation of my earlier theoretical research. But this time it was a meeting of the visions of a group of artists from divergent backgrounds. Together we had the opportunity to thoroughly probe each other’s work in debates which occasionally became quite heated. In putting each other’s work through the mangle, we were able to reveal valuable distinctions such as the three kinds of Others and the notion of Intentions: designed, undersigned or unknown participation. With these insights we developed a set of tools with which you can use to analyse your own work or the work of others.

Lino Hellings,
Amsterdam, January 2007


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