What is the aesthetic orientation we can define in contemporary situation of art since the early 20th century? what is the real thing that we can find in the process of understanding contemporary art? Can this be understood as a paradigm shift in the production and reception of art and in the process of creating art works, or have the changes of physical circumstances influenced some essential aspects inhabited in the tradition of making artworks? The contemporary art has achieved existential characteristic of its own, and then it has preserved its conceptual qualities as core part of human culture? All the questions mentioned above are related to the thought about art and its ontological basis in the sense of philosophical understanding and interpretation about a topology of contemporariness of present art. Consequently, this also possibly makes art have self-reflective quality based on cultural perspective as a means of productive activity in the spirit of our time(Zeitgeist). To interprete an object means someone understand it and recognize “about” its existential qualities in the sense of human history and his culture. One gets once knowledge about an object, he can establish a relationship between himself and an object, he can communicate with it, and naturally he can undiscover the original features of art and life which were hidden in the bushes of the seemingly unpurposeful world. And those revealed phenomena by the positive activities become philosophical texts which incessantly rely on the interpretations of human activities. Getting the knowledges of philosophical texts shows that interpretation constructs one of most important aspects in earning the knowledge of one's society and culture. An art work becoming an object of interpretation in contemporary art has not remained just as a motif, but a cultural model. However, the variable possibilities of artistic interpretation make one think about traditional definition of ‘prototype’ in the realm of internal aesthetic senses which orient toward self-sufficient being. In fact, this has made us possible to think about what art means in one's living circumstances. Just analysis and understanding of an artwork do not mean interpretation, but one can achieve new perspectives about the world in terms of an object of interpretation. With those achieved by interpretation, especially philosophical investigations into an artwork will let one gain a new narrative which can offer an another dimension of artistic reality, that is, a new explanation of one's living condition. Therefore, interpretation itself cannot be alive, but the activity which comes out of living can lead one to a metamorphosed state of the awakening and a cause of an artwork. Thus, the possibility of interpretation of an manmade object seems to have more possibilities to be settled on the aesthetic universality and this is the critical momentum gained by opened interpretation. Such resulted cultural texts will unfold a functionality which gives something more powerful dynamics to the world of common senses. So that the capability created in the process of finding a pathway toward a new interpretation and philosophical dimension will stimulate one to find a good way to grasp the point of contextuality and philosophy of culture in general. Through the positions that we have taken in the process of thought and pondering about art, we can place a different path from the settled road towards a theme and meaning of contemporary art. And this also will show us dim light toward the dialectics of transition in the process of artistic interpretation.

interpretation , text , concept , prototype