© 1995 Christo & Prestel Verlag

Interview with Christo

Interviewer: Masahiko Yanagi

Page 11 of 12

With friendly permission by Prestel Verlag

Collage 1992
Foto: Wolfgang Volz
Private collection, Berlin

Yanagi:

As with your previous projects you are going to finance this one entirely by yourself. What is the reason you strictly refuse outside sponsoring or funds?

For many reasons. The first is very basic: I would like to keep my freedom to do what I want to do. By keeping that freedom, I retain my intellectual individuality, and in a pragmatic way, also total financial control. I don't know how much the project will cost. The final cost, one-and-a-half or two years from now, is one thing, but if you calculate how much money we've spent on engineering, travelling, going and discussing the project for over ten years, who would pay us back for that? Because it is my idea, my decision, I don't think any others can be involved with that project. It costs so much of my life and my blood that I don't want to give one millimeter of credit for that project to anybody else. If we do the Reichstag project, no money can buy the wrapping of the Reichstag, even if they pay all the 1988 costs, because it is nothing compared to the idea, the effort, the energy, and the importance of that project for me and the people who have worked for years towards that project. This is the reason why, for example, I would not like the wrapping of the Reichstag to occur during any other significant event in Berlin. Next year is the 750th anniversary of the founding of the city of Berlin, and I made it clear to authorities and the West German government that the wrapping of the building will not take place at that particular moment. It is very important, that the building have its own dimen- sion, its own calling, its own time, not related to any other event. That involves physical, visual and economic freedom. By doing this project myself I really keep my integrity. On the other hand, there is no way anyone else can be involved with a project like this. In 1972 when we started the project there were so many people against it that no foundations, government agencies or institutions would want to be involved with something so controversial, doubtful and difficult. Yet all of that is part of the reality of my project. The subversive dimension of my work usually makes people not want to be engaged with it.

Drawing (two parts) 1992
Foto: Wolfgang Volz
Collection Jeanne-Claude Christo, New York

Yanagi:

In Paris last year, some collectors who were there to see The Pont Neuf Wrapped commented that they were very pleased to have bought your drawings since part of the wrapped bridge was financed by their purchases.

Of course, I think so too. There are hundreds of friends, collectors, dealers. I think it is very important that they know that, more people should know that. I can only do these projects because I have people who buy my work. Certainly, we always recognize that without them I would never be able to do these projects.

Have you had any exhibition of the Reichstag project?

In 1977, there was the first Wrapped Reichstag exhibition at the Annely Juda Gallery in London, and in 1978 I had two small exhibitions about the Reichstag project in museums - one in Zurich, and one in Brussels, with a scale model, photographs, collages and drawings. These small exhibitions were not as complete as the Annely Juda exhibition. Then there was the first refusal in 1977, which was followed by the second one in I978. The exhibition at Satani gallery is important in updating my project, because this is the first time since 1979 that we are having a show about the Reichstag project.

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© 1995 Christo & Prestel Verlag