If we consider installation spaces made by contemporary artists a kind of sacralization of the everyday life, often communal, then the genre of installation seems something like 'metaphysical architecture' inspired by cult buildings of various traditions - tombstones and druid dolmens to temples of any confession and political parties congress halls. installations could be small - at the wall or a showcase -, they could cover a whole building or even vast open spaces, like the ones made by Christo. I don't think there's any sense in scrutinizing installations by hierarchical scale or considering their archaic levels. All in all aesthetics treats this genre in the same old way of secularization of the cult or magic consciousness. In this case we deal with turning ritual places into contemplative spaces without particular details, that are specific to other visual art genres. Installations are about space as such rather than anything that is exhibited in this space. This is what the viewer often feels; if the objects and the structure of installation are built so they don't obstruct the main object - which is the space itself - then positive impression of the installation is guaranteed. This effect might be compared to some atmospheric event or impression, that has no space but time limits: I saw it everywhere, it was all around me, inside of me and far away.

Suddenly there was an experience and then it's gone. An artist working with installation, treats space as an instrument, and it ends up in something that lasts in time - that is aesthetic, not only artistic act. it's true that angels, seraphim and cherubim are heavenly forces, but as long as heaven is quick changing, they become various types of the space luminance. Objectiveness and circumstance of the installation is based on such unexpectedness, sign facultativity and perversion. It's not difficult to interpret 'Lignomania' as a kind of Catholic reliquaries, rows of photos added like an Orthodox iconostas, where a hero of literature tale opens up its druid nature. Though aesthetic secret of considering this installation an important event is not only about the aforementioned features, it's rather how Makarevich has developed photographs, or negative film to be correct, not the log. He 'processed' it like a rough stuff, let's say timber, not a film. For me the time and space continuum of the 'Lignomania' installation happens not as the literature or ideological detalization, but exactly through this perverted technicism, in correspondance of the materials development levels.