The following text was received from the automatic translator on Google.com, when asked to download a web page from http://gewi.kfunigraz.ac.at/~blimp/full_text/pipi/pipi.html
on Pipilotti Rist. As the result seems very much in the spirit of her work, I’m leaving it unamended.

Not the girl who misses much: Pipilotti Rist

puntigam: in texts over Pipilotti again and again the speech is, of the self-confident ' bath Girlie ' of ' wild Frausein '...

woman does not rist: Certainly the ' bath Girlie' image is also an invention of journalists, who try to out-pass on the self-confident young girls against tool NIST inside. Pipilottis method with it to deal is, according to under-conscious pictures to look for mixtures from perceptible one and feeling and make suggestions, how that could be represented. If then someone succeeds in feeling the proximity for own experience the isolation is overcome.

puntigam: desire is an important category in Pipilottis work?

woman rist: you would like that her work on the conclusion always desireful, life affirming, to look hopeful - that means it however at all that the working process was always desireful. There are so many things, which it gives to do in the process of a project and decide - you must be moved, in order to bring something to end Actually their work is like that something like a small life in the life. Desire on a topic has Pipilotti then only if it has the feeling that it concerns all: Dear grief, the meat machine humans and the whole philosophical catalog, who are connected with it. At the end it probably depends on a combination of luck and handicraft whether a work becomes socially relevant or not. Personal problems, the printing from the art page, the whole shit with the production conditions, the problems of the artist life etc. interest it as topics not at all, although these employed it naturally much.

puntigam: it is connected with this attempt to remain socially relevant that Pipilottis are rather impudently beautiful work?

woman rist: Pipilotti has compared with other artists perhaps fewer fear before the fact that beauty is equated with corruption. She operates therefore with video, because she is interested in its nervous aesthetics; she likes this coloured miracle lamp, whose project pictures are so close at our halfconscious statuses and dream pictures, and estimates video also because of its strong independent existence - it is thereby not possibly, the ' reality ' so to huldigen as for instance with a 35mm film.

In the spirit of cheerful insouissance which pervades her work, the identity of the interviewee is in some doubt. It may well be Pipilotti’s sister. Postmodernism thankfully can be a playful game…the internet is good for scrambling up our translations and expectations.