In my bachelor’s thesis I am interested in the question of the source of ontological meaning in a work of art. The question is expanded to explore the broader meaning of the imaginarium, which is formed by artistic depiction, and its moral implications, as well as on the question of the function of the work of art in contemporary society. Through the analysis of Heidegger’s philosophy, I define a relationship between the objective and subjective reality of the work of art, which I expend to a broader societal view by interpreting Boris Groys. The thesis also confronts the limits of the imaginarium and poses a question of the possibility of a fracture between the imaginarium and the object, analysed through the theory of Georges Didi-Huberman and Hal Foster. Interpretations and discoveries are accompanied by artistic works, created in parallel with the theory.
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