Lokacije, premestitve in reinterpretacije

Different cases of relocation and hybridization in art and culture (G. Bateson and M. Mead in Bali, the reception of contemporary slovenian art in india, Brazilian modernist art, Japanese orientalism in taiwan, and east european perception of western artists) are taken as the starting point of the article. It is then suggested that at least a partial link between the place of origin and that of the relocated work must be maintained if we are to attain an understanding of the work in question, and that the experience of such art and culture in their original setting is an important element in their proper reception.Različni primeri relokacije in hibridizacije v umetnosti in kulturi (G. Bateson in M. Mead na Baliju, recepcija sodobne slovenske umetnosti v Indiji, brazilska modernistična umetnost, japonski orientalizem na Tajvanu in vzhodnoevropska recepcija zahodnih umetnikov) služijo za izhodišče članka. V nadaljevanju pisec trdi, da je potrebno ohraniti vsaj delen stik med krajem izvora in krajem premestitve dela, če hočemo doseči njegovo razumevanje ter da je izkustvo takšne umetnosti in kulture v njunem izvornem kontekstu pomembna sestavina njune ustrezne recepcije