Why an artist is exalted today, but not a contemporary work of art, is to be attributed to an educated journalist who is convinced that it is best for an artist to say something about himself and the creation of his works. In such a personal presentation, we can see that contemporary art is not talked about, even though it is the work of art that attracts people. And so we see again that there is an uneducated journalist at work who is not interested in contemporary art, but is interested in what the artist will say and how he experiences his creation.

This contempt for contemporary artwork and the emphasis on what the artist has said about himself in an interesting way is what accompanies contemporary art exhibitions and exhibited works about which nothing is said. You could say that there is not an educated journalist who would talk about the works on display or what contemporary works of art radiate. Instead of the beauty of a contemporary work of art or its idea, it offers the language of the artist or some of his thinking about what he was thinking and what he was thinking when he created the contemporary artwork.

I mean, if this uplifting of artists continues to talk about themselves, contemporary art will not move out of the place, and fewer and fewer people will see the exhibition. Namely, it is not a matter of praising artists, but of revealing their creations or contemporary works of art created for the purpose of letting the spirit know itself through them. The goal is for the viewer to perceive the beauty of the depicted spirituality in a contemporary work of art and to activate perceptual thinking that recognizes in the work of art the ideal in its moments.

I hear you grinding blisters with your tongue and drinking tears from your hands.

My voice fell silent in my ears, breathing the bottom of the river.

Too much water is draining, I have become a prisoner of my words.

Like a crow searching for distance, I protect my opponent at midnight.

Look into the well, he discovers the faces of the movement being.

Now they are talking about the defeated shadow, but the poets do not see it.

They didn’t hear passionate words as I praised the experience.

Let Paris cry, the dancers of Berlin are looking forward to it.

The world is becoming a life of hostility, so everything is smart.

Many of the wounds of the rumor rotted when I was a prisoner of the virus.

The European bourgeoisie, they say, is the only pleasure.

Millions of dumps of literary rulers, this is our path.

Like a wise beggar repaying Europe's debts.

Peace should be a house without a roof, my hands feel pain.

The time of the moon stopped yesterday, let us drink the sun of thought.

Passion and kiss, I say this, let it be a history of feeling.

Vedeti je treba da umetnost dela za človeško občutenje zatorej so umetniška dela namenjena čutnemu dojemanju. Vsebina umetniških del prikazuje individualno dejanskost umetnika skozi katero raziskuje njemu lastno notrino ali duhovni svet; tako je umetniško delo upodobljena duhovnost, ki prikazuje umetnikovo idejo. Ideja in njena upodoba je torej tista odličnost v tej realnosti v kateri se ideja in njena oblika kažeta tako, da sta skladni in izpeljani druga v drugi. Umetnik je torej tisti ki skozi ustvarjeno idejo raziskuje iz njega izvirajočo lepoto in na ta način prepozna samega sebe kot duhovno bitje. S tem gibanjem objektivizira svojo idejo v nekaj končnega. Umetniško delo torej, kot posredovana ideja tako pridobi življenje na sami sebi in postane nekaj živega, in le v čisti umetniški lepoti šele pridobi nek višji smisel.

Sodobno umetnost je mogoče dojemati tudi skozi enotnost človeške in božanske narave. Pri tem gre zato, da se enotnost človeške in božanske narave povzdigne v zavestno enotnost. Tako je resnični element za realnost vsebine ne več zunanjost upodobe temveč samozavedna notrina. Ob tem posebej naglasimo, da imamo v sodobni umetnosti opravka z osvoboditvijo duha od vsebine in oblik končnosti in s tem lahko podčrtamo: Sodobna umetnost raziskuje interese duha tako, da ta sebe prepozna kot pojavljajočega se duha v pojavnosti tega čemur pravimo realnost.

Sodobna umetnost torej raziskuje gibanje neopaznega bitja notranjega sveta, kar pomeni prehajanje notrine v svoje nasprotje; to pa je upodobljena dejanskost ideje umetniškega dela.

Ker je umetniško delo oblika končnosti in izžareva neko notranje gibanje je torej na ogledovalcu, da upodobljeno dejanskost ideje, ki je neka čutna zagotovost, ponovno razdvoji in s tem nasprotjem  sam v sebi pridela ter doseže ideal umetniškega dela.