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In the past three decades, the Slovenian and pronouncedly Eastern European art movement NSK (Neue Slowenische Kunst) has responded to a variety of unfolding political situations: from the crisis of modernism that began in the late 1970s, through the demise of real and self-management socialisms and the commencement of transition in Eastern Europe to globalization and the big economic crisis at the end of first decade of the twenty-first century. NSK has for the past two decades explored the potentialities of its project State in Time. The NSK State in Time exists halfway between fiction and reality, between art and the real world. As such, it is broadening and expanding the territory of art, striving in its own unique way—in this, it paradoxically resembles the dream of many early avant-gardes—to interpolate the sensible between art and life.

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