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different creative plain, though. But I like working this way. In the past, I sold many things; but ever since I started making only wall pieces, and setting up small monitors or screens, that doesn’t happen much. Now I don’t worry about it. Many artists who make video installation also hang a few images on the wall in the adjoining room, as a kind of surrogate exhibition, where the pieces can be bought. I never make sub-products.

DD: What is, in fact, your relationship to the product?

RL: As a product, I like the CD because it’s an industrial product and relatively inexpensive. Everyone can buy and use CDs, unlike artworks, which only a few can afford. I like the idea of never knowing what happens with my music, where it vanishes to, or whether it amuses people. At concerts, we also get feedback. For example, someone might tell us: Your music helped me survive the winter – or: Your music was like listening to the soundtrack of my past love. Reactions like those are great. I like that. I think of babies learning to walk, before vanishing as adults who go their own way. That’s why I will always prefer music over art.



Question from the audience: You said that you don’t have a rehearsal room or studio. Does this mean that all of your concerts are freely improvised?

RL: It depends. At times we play a conventional set: with drums and bass. Ronald plays the drums and electronics; Stefan the bass, but also the playstation and sequencer, and I have a computer. In this line-up we play pieces in the same version as heard on the LPs, even though the pieces change over the years. Then we have concert situations in which we do improvise, when I play something new that my two colleagues don’t know, or never heard before, and they react to it. Another variation is pure electronics: that’s when the concert really is totally improvised and unplanned. That’s something Stefan initiates. I prefer to rehearse, and to have a certain degree of security. When you improvise, you can fall into a hole that lasts 5 or 10 minutes and have no idea how the piece should go on or develop. In a band, you always have a structure that functions like a safety net. But when I

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