ABSTRACT
This chapter explores the ways in which, across his practice, Tobias Rehberger emphatically stages his activity as a collaborative process within which the artist’s appropriation and approximation of the design ideas of others, and others’ interpretations of his, play a key role. Rehberger affirms the computer to be the formative instrument for each phase of this sequence of works. Rehberger’s light installations include a series in which the illumination of lamps within the exhibition space corresponds to the light conditions of other, variously distant or local, places. Rehberger’s ultimate subordination of the collaborative, creative efforts of others to the production of his own authorial brand identity epitomises this broader tendency, all the more deftly to disclose the untruth of a regime. In setting collaborative processes in motion, Rehberger gathers the diverse activities of a range of co-producers and delegates under his name.
