Povejte nam, kaj ste imeli v mislih, ko ste govorili o sodobno umetniški ideji?

V mislih nisem imel nič posebnega, pač pa sem naglasil, da sodobno umetniško delo eksistira za duha. Hotel sem poudariti, da je sodobno umetniško delo nujno dojemati kot pojavljajočega se duha, ki stremi udejanjiti svoj notranji svet.

Abstraktni svet, ki izstopa in nastopa kot ponavljajoči se element v vaših delih, je torej posledica tega udejanjanja notranjega sveta?

Vsekakor, to kar sem dalj časa nosil v sebi, se v mojem predstavnem svetu običajno razdvoji. Vendar pa to, kar je potem udejanjeno kot ideja, še ni nič takega, kar bi bilo postajanje razdvojene substance. Nastali svet je le bivanje abstrakcije, ki ni dosegla svoje popolne podobe. Posledica tega je, da ideja dobi bivanje, ki ji gre po njeni zunanji določenosti ali sedanjem času.

Gospod Andrej, slišati je, da ustvarjate sodobna umetniška dela samo ponoči. Je to res?

Ne, če bi ustvarjal samo ponoči, bi moj svet eksistiral kot neko subjektivno in popačeno bitje, ki ni izrazilo svojega bistva. Slikam predstavni svet ki prihaja iz naše notranjosti-teme če hočete, skušam priklicati tisto kar je skrito, zato tudi bistva v svojih delih ne izrazim popolno. Poskušam videti nastajajočo pot umetnika, ki se pojavlja sebi v obliki predstavljenega osnutka, ta pa ima svoje notranje gibanje, a še ne doseže razdvojitev substance in tako tudi ne popolne lepote.

Vi torej prikazujete svoj notranji svet, ki ga doživljate kot udejanjen abstrakten svet?

Tako nekako, vendar tisto, kar v sebi najdem in je notranji svet, ta najprej preide v svoje gibanje. Iz gibanja nato lahko nastane kakšna predpostavka ali celo podoba, v kateri si jaz nadenem obliko subjekta, ki proizvede abstraktno postajanje ideje. To je pravzaprav izražena svoboda, ko jaz svoj svet idealiziram in izpeljem kot čisti dojem. Kar pomeni, da ga udejanjim kot končen svet.

Gospod Andrej, kako dojemate sodobno umetniško delo, katerega bistvo je včasih težko dojeti.

Priznam, človek izpelje neke začetne poteze s čopičem, ki pa še ni podoba, kajti tisti prvi svet je vedno neko gibanje sem in tja, ki se v nekem trenutku ustavi. In tako nastane videz nečesa, kar sodoben umetnik ugleda kot neki tukaj in tam. To pa še ni izpeljana popolna ideja, ampak nastavljena osnova za nekaj, kar preide v določenost. V današnjem času je svet ideje reduciran na pojavni svet.

Za konec pa še tole vprašanje: kaj svetujete duhu, ki si ogleduje sodobna umetniška dela?

Najprej naj poudarim, da je pot sodobne umetnosti začrtana kot gibanje in razodevanje duha v njegovih pojavnih podobah. To je notranji svet kot gibanje substance, ki stremi zajeti svojo dejanskost. Zakaj svet v svoji osnovi je gibanje in je postajanje substance, ki išče svojo dejanskost.

Ali menite, da sodobna umetniška dela pomagajo razodeti duha?

Seveda, duh se pojavlja povsod tam, kjer gre za gibanje notranjega sveta in njegovo postajanje. Zakaj edino tako se duh razodeva sebi kot tisti, ki sam sebe ustvari. To je dejavnost, v kateri doseže svojo abstraktno izpolnitev, s tem pa svojo mejo v izdelani umetniški ideji.

Andrej Požar

Prehajanje v gibanje, 2019, print 80x100 cm in slika 20x 30 cm 

If we read the text on contemporary art given by Wikipedia, we can see that the text does not talk about what contemporary art explores. The interpreter of contemporary art merely states that contemporary art is created by artists who redefine the role of art, introduce some new organizations of the artistic environment, and so on.
One cannot agree with such an interpretation of contemporary art because it is a kind of external imagination about contemporary art that arose to the writer as something indefinite. Such a presentation says nothing about the essence of contemporary art, what its mission is, what it is that explores, and why it is precisely what it explores. The writer says nothing about the basis of contemporary art.
Among other things, the writer states that the definition of contemporary art is changing. This reflects that he has no idea what contemporary art is and what defines it. He may be brave, but he offers the reader a text on contemporary art that is not about contemporary art, but about how he perceives contemporary art. In doing so, he behaves externally and therefore composes a text that says nothing essential about contemporary art, because it only speaks of his own perception of contemporary art.
The writer only expresses his views with his writing, but he does not say anything essential about contemporary art. He is not aware of the concept and therefore calls for the text of a category that is supposed to externally define contemporary art, but they are unable to do so because contemporary art is not a concept that can be externally embellished and quickly defined.
On the contrary, contemporary art is a concept that explores exactly what comes to it from becoming a concept or a pure perception. Which is to say that contemporary art is not something indefinable, but what goes according to the developed notion of art, with which it conveys itself and determines itself, because contemporary art is free and not something freely evolving.

Contemporary works of art and, of course, the thoughts of individuals who strive to comprehend contemporary art and thus get closer to the contemporary artistic idea can tell us how to perceive the present time. Contemporary works of art reveal that artists radiate a world which is basically established as an abstract world. What radiates a contemporary work of art is not a specific substantive idea, but a beautiful free image that has not yet reached its reality. It is therefore not a world that could be recognized immediately, but only an abstraction or an indefinite world that cannot be named because it is devoid of content. The contemporary artistic idea expresses only a common one, which is broken into phenomenal moments and is therefore a world that one can hardly name.
The contemporary artistic idea is therefore a simple world, which, after negation, is neither this nor that, but abstraction as the truth of the sensual certainty of the artist.

In general moments, the disintegrating world is therefore unable to exist as something one, because it is a sensual being in perception. And this being in a perception that lacks content is artistically beautiful. So what we have in front of us as an artistic idea is becoming moments. It is the body of the idea in its self-movement. Such a thing is the sensual certainty of moments that are for something else, or, a contemporary artistic idea is the unfolding of an emerging spirit.

The above abstract implementation can be a help in recognizing a contemporary work of art in its appearance as an assumption that helps to understand contemporary art. When we look at a contemporary work of art, we have before us an exposition of a phenomenal world that we cannot name. The contemporary artistic idea is not one yet, but it is a beautiful free art.

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.