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.
