Translation of "Werkbegriff" in English

Thus, Eliasson increasingly breaks apart the traditional concept of the work.

Yet current contemporary art tends to move away from a classical notion of the work.

In Franz’s concept of the work, the mechanism of memory plays a special role:

The classic notion of the work is thereby questioned here.

Compared to the traditional definition of a work, it exists only in the subjunctive as an "art without qualities".

One thing is certain: the conventional concept of art and works of art is blown to pieces.

In their project they reflect on the process of creation itself and break away from the traditional work concept of art.

In form of actions, events, and festivals new ways have been discovered to expand the traditional concept of work.

Matta Wagnest's art projects from that period are informed by an open work concept, which permits the various scenes – art, music, club and party – to fuse seamlessly together.

His friendship with the Italian avant-gardist Lucio Fontana, who became world-famous for his slashed canvases, made Bischoffshausen adopt a broader concept of what a work of art might be, which he consistently elaborated after his move to Paris in 1959.

And finally, Lawler leaves behind the traditional concept of the work and focuses instead on analysing the underlying institutional conditions and their power mechanisms that allow art to constitute meaning in the first place.

This tendency makes it difficult to re-balance the broad definition of the copyright protected work in later steps such as by a narrow adaptation right or a wide fair-use-clause, respectively.

The viewers enter into an active dialogue with the works through so-called 'work actions', which alters the traditional concept of viewer and work and leads to an "other concept of the work (of art)" (Walther).

One is forced to question and re-define the concept of work and to query whether the social space, in which her works were created in, was composed into the work. There are also complex questions regarding edition methods and performance practices.

Today, the clear allegiance to the traditional concept of the work, to the role of the artist as the exemplary sufferer, the openly announced bent towards the romantic appear somewhat ambivalent.

An essential characteristic of the videos is that Robaard operates here with a certain concept of work that is based on the idea of the active picture archive and repeatedly allows for new versions adapted to each current presentation and exhibition form.

Of course, the line between idea and expression is difficult to draw, which has given rise to many legal cases (I examined the definition of the copyright protected work in more detail in my master’s thesis „Copyright Protection of Formats in the European Single Market“).

This inherent feature demonstrated ever so often in his improvisational performances is also used in his compositions, which is quite contrary to the conventional definition of composing.

The topic also refers to notions of a participatory perception of an artwork following an open concept of the artwork, as it was postulated, amongst others, by the American artist Robert Morris in the 1960s.

Here the concept of what constitutes an artwork develops into a notion of practice that incorporates pre- and post-production as well as reflective mediating tools and in turn entails their archiving and distribution.

Instead of conflating art and cinema within the conventions of projection spaces and mini cinemas only, the exhibition focuses on dynamic scripting processes to oppose the notion of finished and self-contained artworks.

In the combination of the view of a sculpture from the inside (installation) and outside (in the video), Bonvicini and Durant address the relationship between sculpture and movement. At the same time, though, this arrangement also illustrates playing with the concept of work in visual art, which is actually coupled with manageability.

It is an open question whether, under these circumstances, the classic concept of the work can even be upheld at all.

It should also be noted that the concept of the work is not clearly and objectively defined in copyright law and that, therefore, the courts examine and assess each creation individually.