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“Art is a lie that makes us realize truth.” – Pablo Picasso

What kind of lie is to support contemporary art today?
What kind of truth we are realizing through contemporary art?

Contemporary scene of Fine Arts is like the room with broken mirrors, where the images mirror each other in the multidimensional realm of the media circus filled. The technique of cataloging and classification, the creation of such categories as may be key for the classification and understanding of the complexity of serving the multitude of approaches and streams exist in today’s global art scene. Criteria for both the creation and selection of random structures borrowed, and in theory to question the relevance of the development of art.

The first class for the entire system are those of matter and consciousness. They offer the strain of origin of all the different branches of the other categories. All the elements are so linked that each be understood only as an element of the whole. -Dialectical Materialism (A. Spirkin)

Determining the scope of styles and trends, the main-stream art, group or other structure is irrelevant in the near future. “Anything Goes” has been replaced by “What?” With all the information and tools available today, everyone could be an artist to be replaced. People of all professions to play with new media. GarageBand is a musician, or graphic designer or a software digital camera with a photographer? New technologies create a game where want to win in a competitive manner, therefore each. Winning in the art also means experience in 15 minutes of world fame, “and a” superhero. “Consumer society deals with superficial substitute for happiness. Who will watch the game if everyone plays. Fortunately, we can not play at the same time. Target audience ranges from small groups (family members and friends) to large social groups. In larger social communities, such as the national structures, the demand for ‘hero-artist “decreases and culture is broken into small pieces of personalized services of a regional character. Find trends of the art scene behavior in the context of contemporary philosophy of art, we tend to accept a concept that everyone or could be an artist. The meaning, significance and consequences of such a mind-stream is very deep and life have a major impact on the cultural and social. Why? It requires dropping the notion of conceptual thinking.

My artistic approach is established on such foundations. Not that I would be able to run non-dualistic process, but I try to talk a little futuristic speculative forecasts of the era after the end of art. Sooner or later this trend will be marked as a kind Unthinkable. Historically, achieving such a path is a paradox to common sense (especially at the collective level), but similar trends are in the air of post-postmodern against rain and will appear shortly on the sky like a rainbow.

Today’s curators are looking for unique and interesting angle to make their views about when it shows selective procedure for the arts. The use of traditional approaches, the system secures art cycle, from creation to distribution, and protects the cultural capital of the Bureau. Even the alternative scenes (vs. Technologies art, or other forums of the so-called “new media”) are not the answer to the question of establishing the role of art in the contemporary global cultural platform, because they are based on the traditional curatorial, selective and preconceived mechanisms. What do I do that? I refer to the study of the designation process of the mind in relation to the definition of what we labeled: The Arts. As a reference to dialectic philosophies is an example of the demonstration of the potential of the idea of A. Danto, spoken about art to philosophy. Such ideas would have to be, not only by the artist themselves, but primarily by structures that officially supports the larger cultural platforms reworded.

What are the results of the conference, which took place in Tehran in 2001? Art is still the public in the manner of presentation presented by the early 20th Century. Structures to support such static views certainly do not raise public awareness and awareness of issues of the modern art world. The artist Mark Kostabi makes allusion to the idea of art, a servant of the market. Some curators are warbled by such statements. In the global picture of Westernization is Kostabi M. ’s phenomenon, always a leader – a hero, the ideal combination of qualities that should be held by contemporary artists. It is also the best proof of a lie that helps us realize the truth about the art of today.
Like a flash of neon sign, the art is reflected everywhere from the pieces of mirrors.
Looks like a new quality of the question arose, as Arthur Danto published his ideas in the book “After the End of Art, 1998.” More than a decade ago, Arthur Danto announced that art ended in the sixties. Since that statement, he has at the head of a radical critique of the nature of art in our time. “Art is always a philosophy.

I’ve always believed in finding the answers in the space between the search for the middle ground. Neither postmodernism nor new media approaches to understanding the answers are positioning the art of tomorrow. Postmodern world is a world of entertainment. It’s like an amusement park, where possibilities are endless, and we feel overwhelmed for a while, but we want to relax out extraneous information and then go home.
Kostabi is one of those who understand the art market, and penetrated for his intelligence, he used the system, so that he can do what he wants. We pay for expensive tickets out of our pocket. I admire him because he realized the dream of every artist. Or is it not to recognize a dream of every artist and for sale, work of art all over the world?
If not, what is?

If they are still relevant question of how, what is art? How do we deal with it? What is the nature of beauty? I would like to refere the dialogue between Einstein and Tagore in 1930.

Einstein: There are two different views about the nature of the universe – the world depends as a unity of humanity and the world as a reality independent of the human factor.
Tagore: If our universe is in harmony with man, the eternal, we know it as truth, we feel as beauty. “
E: If there were no people, the Apollo of Belvedere would no longer beautiful?
T: No!
E: I agree with this view of beauty, but not in relation with truth.
T: Why not? The truth is realized by people.
E: I can not prove my interpretation is correct, but that is my religion.
T: Beauty is in the ideal of perfect harmony, the universal in nature, truth is the perfect understanding of the universal spirit. We individuals approach it through our own errors and mistakes, through our experience, through our illumined consciousness. How else can we know the truth?
- From Dmitry Marianoff in NewYork Times, 10 Published August, 1930

“Contemporary artists would never approach new horizons. One of the reasons for this failure, the separation of artistic activity seems to be to speculative thought.”
2001 Tehran Museum of Contemporary Art, International Conference on the Philosophy of Art.

What has happened since the time of the conference? How to overcome speculative thought, if as a result of cultural values that created the support of the society in which we live?
How to identify each work of art or city in the world already so complicated and diverse art scene, without respect originality, evolution in art? How do we deal with the fast passing minute to minute, changing trends in art? How the individual artists, the art of their lifetime contribution, not only contributes to 15 minutes type of history? What are the values of art for the sake of tomorrow? Are there similar in art history to the situation of our time? What are the future forms of visual exploration? What is the production of art will in the near future, 10 years? What is the role of new media? If artists need to be involved in the philosophy of art? Could individually created work of art created in isolation? If so, how are art structured processes at the individual level and at global level?
It is fascinating to think about a pioneer of the new era of art. My motivation is to explore the field of possibilities. In have no interest inherent aspect of art, but I am interested in the development of the possibilities of artistic thought. In 1999, I have in the Academy of Fine Arts in Bratislava completed, with the installation of I. Kabakov, where I did my work area with exhibited drawings and prints on the floor and the white canvas, with the intention of the importance of art inspired even question . A white screen was because the question of the reason for the continuation of the brand to increase and make the end of art stories. I have seen the closed circle of possibilities. If this was possible at all, and everything was an art than anything was an art, it was kind of death. But as I see today that was only the beginning of my long trip to the knowledge of the truth about the art.

The Incredibles (2004) updated feelings about the end of art.
“If everyone is a superhero, superhero when no one is.”

To maintain a leading role in activities for product that is called art, I had to formulate and consider the following facts:
1st Analysis of the situation.
2nd Underlying misconception of the self and wrong motives.
3rd The formulation of strategies and solutions.
4th Continuous production and visual symbiosis with reality.

1st Situation Analysis
From the Tehran Conference: Post-Modern and Contemporary Art,
27 April-1 May 2002

The problems of contemporary art:
- Aesthetics in Contemporary Art
- The fine line between art and non-artistic work
- The Language of Contemporary Art & Expression
- Contemporary Literature & Arts
- Contemporary Art & Technology
- Globalization & Contemporary Art
- Post-Modern Art: Features & Properties
- The end of art

Post-Modern & Contemporary Art Trends:
- Minimalism
- Conceptual Art
- Land Art
- Video Art
- Body Art
- Anti-Art
- Local Art
- Feminism
- Post-Modern Architecture

Theoretical Origins of the Post-Modern Art
Theoretical foundations of modernity from the perspective of the modern philosophers:
- Humanism
- Rationalism
- Subjectivism
- Nihilism
- Aesthetics
- Reconnaissance

2nd UNDERLYING misunderstanding of the self and MOTIVATION
I have some issues of the traditional dilemmas affect the dualistic mind. The acceptance of the dual aspect of things, leads to evaluative thinking, not only in art. Creation of categories is the tragedy of the era after the end of art. Therefore, beauty and all other categories can be defined, leading to permanent marking.
Definition of the other grounds of error is based on comparison of Nietzsche and Malraux models of art and processes of creation.

Nietzche
a. It is looking for a less artistic public. The superstition of the “genius”
b. A tirade of obscure instincts of the discontented, ambitious, even spirits encased in a democratic age: the importance of poses.
c. A transfer of the modalities of art to other art forms, confusing the aims of art with the knowledge or the church or racial interests (nationalism), or philosophy.
d. A flatters women, the sick, the angry, etc. False “intensification”.

Andre Malraux
Art is a universal representation of the creativity of the individual. By art man was, is and, opposite, and transcend his physical limitations, his personal and social (historical) fate. Malraux refuted to explain works of art in connection with the biography of its creator, and against this method in the explanation of the motives and content of art.

3rd Formulation of the solution and strategy / vision UTOPIA

a. revival of the iconic quality.
Due to the degeneracy Era of spiritual values and the end of the period of the Old Gods, the migration and multicultural mix is responsible, I am looking for the possibility of new Sacral form. This is not a creation of transcendental art. It is a search for artistic form that the contents of the dialectic development of social wisdom, is a creature of the highly respected religious secrecy where respect possible. It is a new layer of the sphere of new colors, shapes and structures. Renewal of art forms is a reassessment of the sacred attributes of history and as uplifting to define the forces of modern times, the motives and perspectives of new religious forms. It is reviving the existing icons on a global level. It is not a creation of a new religion, but it is a new level of social consciousness. Form remains the same, the spirit is different. Technology, art and philosophy are integrated into ongoing symbioses.

b. The role of artists, galleries and cultural industry. Combination of two worlds. New Cultural wisdom. Utopia.
This would be the end of the “Marketing … game of art dealers, gallery owners and publishers who have followed the work of the Cultural Industry Law.”
The company, which would be governed by New Cultural wisdom at the global level. Creation of art is no more than the act of creation considered. “The art produced will be like breathing spontaneously.” Artist form immediately and naturally blending into the environment, so that the sub-consciousness by wisdom, the dilemma of the hierarchical model is addressed eliminated. Gallery space is no longer necessary and the whole area becomes a showcase. The entire room does not require the poses. It is an art of conscious representation of the image plan of retinal experience, or the selection and placement of the picture frame in the consciousness of the necessary aesthetic to it. Artists produce art that is already blended into the environment as a natural part of the space and serves as a subtle potential for public display. Cultural wisdom will be seen by the human consciousness that defines an almost unlimited potential for determining the visual design of reality, boundaries and limits understanding of the phenomenon of reality.

c. Clash of Civilizations. Global Culture. Meta-code, and new artistic religion.
We are witnessing on a global level, the formation of new cultural qualities that are based on cultural clashes. (Example: Global cultural experience in LA made house with my Persian and Mexican friends to hear the Japanese techno music, food Bulgarian cheese with Arabic bread, pickles and drinking Russian French wine, while the discussion Slovak culture or the latest fashion trends in London. ) East meets West or South-North-meets-processes are still ongoing and it is difficult to predict the results from the cultural clashes. But we must on the present, will look like the formation of the universal space where cultural identities are being redefined. This will result in temporary crisis of identity of the individual but ultimately will lead the identity of the global consciousness.
Americanization of the world can serve as a model of globalization in the world with its positive and negative aspects. Migration in caves is limited. S. J. Lewy

4th CONTINUAL VISUAL Manufacturing and symbioses
I would like to scratch the surface beyond the point of A. Danto ’s philosophical questions about the end of art. Not that I would have “the courage” to work on his ideas from a philosophical perspective, but I want only some fragments to reflect on and articulate it strictly as an artistic vision.

“A philosophical question arises whenever we have two objects that are particularly relevant in all alike, but obviously have to include all other philosophical categories.
… And this is no less the case if tried, the differences between artworks and mere real things, the bill exactly happens to resemble them.
… For example, what painting as a very complex perceptual objects. So they are, but as you can imagine objects completely congruent with those that are not works of art, they must have equal complexity at the level of perception. After all, the problem was “primarily because there is no difference of perception could imagine eventually become relevant. But neither can the so-called property “aesthetics” are used, because it would be strange if a work of art were beautiful, but something like it but not a work of art not. In fact, there has been a great effort by the philosophy of art to de-aestheticism of the art concept. It was Marcel Duchamp, an artist far deeper than Warhol, who presented selected as a “ready-mades,” objects for their lack of aesthetic qualities – grooming combs, hat racks, and notoriously, pieces of the toilet plumbing. “Aesthetic pleasure is the risk can be avoided,” Duchamp wrote his most controversial work, Fountain, of 1917. This was precisely Duchamp’s great effort to make clear that art is a spiritual activity, a conceptual company and not just something that come to the senses and emotions. And this must be true, all art, even that most bent on pleasing the eye or ear, and not just those works that are considered particularly “philosophical” as Raphael School of Athens or Thomas Mann’s “The Magic Mountain “. Would someone choreograph to Plato’s Republic, which would not be easy because of its sublime content, be more philosophical than Coppelia or Petrushka. In reality, these are perhaps more philosophical, dealing as they do imitate real dancers dancing dolls imitate real dancers!
Where the components for a theory of art to be found? I think a first step in the realization that art can be made, images that do not necessarily resemble their subjects in the old sense, but in the broader sense that it is always legitimate to ask what they are.
Now of course, not all objective things are works of art, the definition has just begun. I will not be the next steps here. All I’ve wanted to show is the way that the philosophy of art has deep issues to consider issues of representation and reality, the structure of truth and meaning. Looking at these things, it moves from the periphery to the center of philosophy, and so that it includes the two curious things to the occasion. For if the art reaches the level of self-consciousness has come to be reached in our time, the distinction between art and philosophy is as problematic as the distinction between reality and art. And to what degree of appreciation of art can hardly be overestimated on a matter of applied philosophy. “- A. Danto

I believe that the art of the plane would reach its own representation where representation of pure existence. What I mean by pure existence? Ii is the cleaning is not at the level of creation. The whole creation is pregnant with its causes. Consequently, cleaning the causes of creation is to clean the act of creation itself.
Global awareness at the level of cultural wisdom creates the platform, where all matters of art will be figurative. It would be the consciousness and the ability to solve the fragment of reality, and on it with aesthetic quality. The reality in the cultural level of wisdom is ultimately de-aestheticized. Marcel Duchamp’s idea would be the danger of the aesthetic pleasure fall out, and completed his vision.
Every aspect of reality could become art, but wisdom culture is not the reality in dualistic (evaluative) sense of art are not on a collective level, nor at any regional level. It would exist only as a possible point of view, at the level of one’s own consciousness. However, in later stages of the development of wisdom culture, in the ultimate stage of equanimity, the nonjudgmental aesthetic experience of reality as the ultimate art could also be implemented in more than one person. could follow the evolution of collective experience. The result of such experience shows in parallel the evolution of human kind on the subtle spiritual qualities and implementation of quality of beauty inseparable from existence itself It is the experience of the highest aesthetic. Thus the formation of new social structure, result in the “shaman” to protect the global Sanctum is.
The essence of the Sanctum is in every aspect of reality that keeps the door to the potential creation, if the seed of the kind of beauty could be found.