Brandon Labelle: Spatiality seems to enter your work on multiple levels, both as site—specific construction as well as a kind of psycho—acoustical interior space of the audience. Can you describe in what way you see your work engaging with architecture?

Christina Kubisch: Most of my work is site specific, which means, it cannot be presented in any other space. Therefore I have to visit the place before, spend some time withit, get a direct feeling for it‘s atmosphere. It has nothing to do with a special knowledge about the history of architecture. It means to find out what has happened to a space since it was erected and possibly go back to the origin. There are certain places where I cannot work because I cannot find this way of communication. There are other places, which are white cubes and that is o.k. as well, but the result is different and is closer to a sound sculpture than a site specific installation.

Your installation projects often position the audience in an "interactive" way that is quite generous and subtle. How does the notion of an audience inform your work?

Any intense reception of an artwork is interactive, if you consider interactivity as something, which happens between the work and the viewer/listener. It can be more or different than just computer directed interactivity. I want the public to find some moments of individual time.

There is also often a displacement between sight and sound in your installations: what an audience hears is often in contrast, or out of place, to what an audience sees. Can you elaborate on this?

Why should people see what they hear?