Graham Chapter 2

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S.R. I see. You said a lot of names. What do you think? Is it possible to figure out one aim in your practice, one goal?

D.G. Intersubjectivity. Not always the perceptual process of two people looking at each other as they look at each other, so they can see their own perception and also how they are perceived by other people perceiving them. Probably it`s because when I was 14 years old, I read Jean Paul Sartre's »Being and Nothingness,« and this - I think it influenced Lacan a little bit. I think it comes from Hegel originally, the idea of the two people, that we form our ego by being seen by somebody else who we're seen who is seeing us and vice versa. I think this concept of Sartre had a really big influence on my work. And the work often tends to be a philosophical, or psychological model.

S.R. Right. You think that the process of reception that is involved in your works, in your installations –  that's the main aim or the main goal? That you cannot say there`s something like a pre-figured content?

D.G. With the pavilions there is also landscape like Caspar David Friedrich or Mies van der Rohe. And everything is one thing because there are shifting historical and site-specific influences. I think one thing is important: It`s that my work is not about the gallery cube, but about the city plan. »Homes for America« was about the suburban city plan, and the Dia Foundation piece is also about the grid of New York City as against the 360 degree sky and the shapes of people's bodies in 360 degrees, in the visual field. But I think city plans have always been important. // S.R. Sea plans? // D.G. City plans. The plan of the city.

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