BORIS GROYS ART POWER PDF

Art power / Boris Groys. p. cm. Includes bibliographical references. ISBN (hardcover: alk. paper). 1. Art—Political aspects. 2. Art and state. 3. Art power / Boris Groys. p. cm. Includes bibliographical references. ISBN (hardcover: alk. paper) 1. Art — Political aspects. 2. Art and state. In his essay (), Groys defends the role of art as political propaganda and calls for politically motivated art to be included in the discourse of.

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This also explains why the selec- tion criteria manifested by contemporary curatorial projects so frequently differ from those that prevail in the mass media. This guy has some pretty interesting ideas but I yroys his argumentation appalling.

“Art Power – Introduction” by Boris Groys – A summary

But there is no sun inside the museum. With age, I become only more wary of someone who already knows everything. So if I change powwr life expectancy of an ordinary thing, I change everything powee, in a way, changing anything. The substitution of the ideological vision by the artwork is the substitution of the sacred time of infinite hope by the profane time of archives and historical memory.

Art Power Boris Groys No preview available – And this notion of a self-critical com- modity is, of course, utterly paradoxical. Why does art refuse to seek legitimacy on the open market just like any other product?

Those virtual dinosaurs which are merely dead copies of already museographed dinosaurs could be shown, as we know, in the context of Jurassic Park — in the context of amusement, entertainment — but not in the museum. Under the conditions of modernity an artwork can be produced and brought to the public in two ways: According to tradition of modern art, an image must speak for itself; it must immediately On the Curatorship convince the spectator, standing in silent contemplation, of its own value.

If you saw these objects, let us say, in the atelier of Fischli and Weiss, you could take them in your hand and weigh them — an experience that would be impos- sible in a museum since it is forbidden to touch exhibited objects. But appearances are deceiving. But opening up to the big world outside the closed spaces of the art system produces, on the contrary, a certain blind- ness to what is contemporary and present.

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He also considers today’s mainstream Western art—which he finds behaving more and more according the norms of ideological propaganda: This means that all ideologically motivated art — be it religious, Communist, or Fascist — is always already affirmative and critical at the same time.

This is why, for the general public, the art market is more enjoyable than any museum.

He believed that the true balance of power, having Introduction zero as its sum, could only be thought, not seen. Does art hold any power of its own, or it is only able to decorate external powers — whether these are borus of oppression or liberation?

“Art Power – Introduction” by Boris Groys – A summary – Midnight Media Musings…

However, the boria I am more interested in at this moment is, as I said, a groyx one: Instead, by the time history has come to an end, each artist begins to be suspected of producing just one further arbitrary image among many.

This judgment is in a sense both true and untrue. The modern revolutionary, or, one might say, totalitarian movements and states are also aiming at the balance of power, but they believe that it can be found only in and through permanent struggle, conflict and war.

According to this tradition, the death of the museum — and of the art history embodied by the museum — must be interpreted as a resurrection of true, living art, as a turning toward true reality, life, toward the great Other: As much as the behavior of dinosaurs was — at least in a certain sense — unaffected by their future representation in the modern museum, the behavior of the modern artist is affected by the knowledge of such a possibility, and in powdr very substantial zrt.

Zeljka Sancanin rated it really liked it Jul 31, Yet, such artificial longevity of an artwork can only be relative.

These artists know from the beginning that they will be collected — and they actually want to be collected. And the museum can only create the athmosphere of suspicion, uncertainty, and angst in respect to the hidden support of the artworks displayed in the museum which, while guaranteeing their longevity, at the same time endan- gers their authenticity.

At this point I can formulate more precisely what this new difference is — this difference beyond difference — of which I spoke earlier. Were this indeed the case, the regime of equal rights for all images would have to be regarded not only as the telos of the logic followed by the history of modern art, but also groyz its terminal negation.

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This art is also made and exhibited for the masses, for those who do not necessarily wish to purchase it — indeed, the nonbuyers constitute the overwhelming and ever-increasing audience for art as it is regularly shown at the well-known Introduction international biennials, triennials, and so on.

The Hegelian vision of the universal museum is one in which corporeal eternity is substituted for the eternity of the soul in the memory of God.

Or, to put it another way: Innovation consisted in putting a new form, a new thing, into this stable context. And this effect of infinity can be produced, or, better, staged, only inside the museum: He also considers today’s mainstream Western art — which he finds behaving more and more according the norms of ideological propaganda: An individual observer would not necessarily be in a position to undertake such a comparison if the media were all he had to rely on.

But in this case, art fulfills only a secondary role of serving the law: Only under the presupposition of the equality of all visual forms and media on the aesthetic level is it possible to resist the factual inequality between the images — as imposed from the outside, and reflecting cultural, social, political, or economical inequalities.

His generalizing, powerful and contrary tone is all that persists from start to finish. However, Groys argues that the pluralism itself and the constant contradiction of other works is the common theme that unites all modern art.

The notion of art became almost synonymous with the notion of the art market, so that the art produced under the nonmarket con- ditions was de facto excluded from the field of institutionally recognized art. And more than that: Duchamp, in exhibiting the urinal, is not a curator but an artist, because as a result of his decision to present the urinal in the framework of an exhibition, this urinal has become a work of art.