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<datacite:identifier identifierType="URL">https://phaidra.bibliothek.uni-ak.ac.at/o:7344</datacite:identifier>

  
<datacite:titles>
  
<datacite:title xml:lang="en">Art is a state of encounter.</datacite:title>

  
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<datacite:creator>
  
<datacite:creatorName></datacite:creatorName>

  
</datacite:creator>

  
<datacite:creator>
  
<datacite:creatorName nameType="Personal">Nemes, Nina</datacite:creatorName>

  
<datacite:givenName>Nina</datacite:givenName>

  
<datacite:familyName>Nemes</datacite:familyName>

  
</datacite:creator>

  
</datacite:creators>

  
<datacite:contributors>
  
<datacite:contributor contributorType="Other">
  
<datacite:contributorName></datacite:contributorName>

  
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<datacite:contributor contributorType="Other">
  
<datacite:contributorName nameType="Personal">Denzer, Ricarda</datacite:contributorName>

  
<datacite:givenName>Ricarda</datacite:givenName>

  
<datacite:familyName>Denzer</datacite:familyName>

  
</datacite:contributor>

  
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<dc:language>deu</dc:language>

  
<dc:description xml:lang="en">Art is a state of encounter.

Installation

“Co-existence criterion

All works of art produce a model of a sociability, which transposes reality or might be conveyed in it. So there is a question we are entitled to ask in front of any aesthetic production: “Does this work permit me to enter into a dialogue? Could I exist, and how, in the space it defines?” A form is more or less democratic. May I simply remind you, for the record, that the forms produced by the art of totalitarian regimes are peremptory and closed in on themselves (particularly through their stress on symmetry). Otherwise put, they do not give the viewer a chance to complement them.”

(Nicolas Bourriaud, Relational Aesthetics, translated by Simon Pleasance &amp;amp; Fronza Woods with the participation of Mathieu Copeland, Les presses du réel, 2002, S. 109)</dc:description>

  
<dc:description xml:lang="de">DIE KUNST ALS TREFFPUNKT

Rauminstallation 

&quot;Jedes Kunstwerk ermöglicht ein soziales Beisammensein. Es ist fähig, unsere unsichtbaren Verhältnisse in die Realität zu übersetzen. Es lädt uns zu einem Rendezvous ein. Demnach können wir bezüglich jedes Kunstproduktes die Fragen stellen:
Bietet das Werk die Möglichkeit zum Dialog? Ermöglicht es eine Existenz im Raum?
Kann ich als Betrachter die Arbeit ergänzen?&quot;

 Vgl. Nicolas Bourriaud, Relational Aesthetics, übersetzt von Simon Pleasance &amp; Fronza Woods, Dijon: Les presses du réel 1998 Glossarium, S. 109
</dc:description>

  
<licenseCondition uri="http://rightsstatements.org/vocab/InC/1.0/">All rights reserved</licenseCondition>

  
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<datacite:relatedIdentifier relatedIdentifierType="URL" relationType="References">https://phaidra.bibliothek.uni-ak.ac.at/o:55823</datacite:relatedIdentifier>

  
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<datacite:dates>
  
<datacite:date dateType="Issued">2016</datacite:date>

  
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