Minimalna razlika, prehod in umetnina

Abstract

Nova forma je lahko odgovor na absolutno nov začetek, ki pomeni destrukcijo vsega starega. Hkrati pa lahko kreacijo čisto nove forme razumemo ne kot rezultat destrukcije, temveč kot odgovor na minimalno razliko: v minimalni razliki med belim in belim ostane forma. V minimalni razliki leži osnovna, primitivna, minimalna forma, ki ni forma minimalne predmetnosti, temveč je forma minimalnega prehoda. Ali je možno razumeti umetnino kot prehod med novim in starim svetom? Umetnina je pojmovana kot zev, ki še vedno dopušča tradicionalno zasnovan koncept gledalca, a nas hkrati napoti na »lastne ruševine«, kjer ni možno misliti nič drugega kot izpraznjeno materijo nekega starega spomina. V tem smislu je prehod razumljen kot odprta forma umetnine, ki na pragu svojih ruševin lahko odpira nove možnosti umetnosti.

The new form can be a response to the absolute new beginning, which represents the destruction of everything old. At the same time, we can see something else. The creation of completely new form can be understood not as a response to the destruction, but as a response to the minimal difference: in the minimal difference between white and white lies the form. In this minimal difference, lies the fundamental, primitive, minimal form, which is not a form of minimal objectivity, but a form of minimal passage. Can we understand a work of art as a passage between the new and old world? A work of art as a gap that still permits the traditional concept of an observer, but at the same time leads us to “its remains”, from which it is not possible to conceptualise nothing else but the emptied material of some old memory. In this sense, the transition is understood as an open form of an artwork that is opening up new possibilities of art while standing on the edge of its remains.