T.H.: No, not only, or not in the first instance. I’m referring more to your very position as an artist who tries to create a new reality. When you think about early modernism, art was very often, of course in many different ways, a critique of the historical status quo and the positions of previous traditions.

E.K.: You know, Ezra Pound used to say that the best criticism is the work of the next generation.

T.H.: Okay, I see. Then let us focus on the key concept of the current issue of Rheinsprung 11, which is the concept of model. A concept with a complex and widespread literature. Do you see any transitions between your work and the category of model?

E.K.: My artworks are entities that present themselves sensorially to you, that you have to experience. You have to be there to have the experience of interaction. But in addition to that they also reveal a way of being in the world, thinking about the world, reorganizing the world to make present not the world that you know, but the new world I want to create.

T.H.: Your works are exemplifications of a certain new form of organizing the world, of potentiality. Does this correlate with a conception of modeling the world?

E.K.: A model of world-making.

T.H.: One possible world-making?

E.K.: An alternative world-making model. That’s exactly right.

T.H.: For example Edunia, from your work Natural History of the Enigma, which you developed between 2003 and 2008.

E.K.: Edunia is what I would call ontological art, because it is about creating new beings, making a new life form exist in the world.

T.H.: But would you also call it a model for a new biological reality? Is it an ontological model?

E.K.: Edunia shows that the boundaries between humans and other lifeforms are not as rigid as we often think.

T.H.: Okay, but when we discuss the concept as a very open term, your models still permit a kind of orientation, even as artworks. And they do so by means of their openness. Would you agree with that?