ART POWER BORIS GROYS PDF

Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market’s fiats of inclusion and exclusion. In Art Power . Art power / Boris Groys. p. cm. Includes bibliographical references. ISBN (hardcover: alk. paper) 1. Art — Political aspects. 2. Art and state. Art power / Boris Groys. p. cm. Includes bibliographical references. ISBN (hardcover: alk. paper). 1. Art—Political aspects. 2. Art and state. 3.

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I shall also try to show that “being alive” means, in fact, nothing more or less than being new. Both artistic strategies initially appear to oppose each other: In the ideal case the representation of thesis and antithesis should be perfectly balanced so that they sum to zero.

The art world should be seen as the socially codified manifestation of the fundamental equality between all visual forms, objects, and media. And this is what signals the fundamental difference between market commodities and political 6 7 Introduction propaganda.

Does the Hegelian system and its matrix of nodes, mediated by the protocols of phenomenonology and sealed with a kiss from the phemenonologist himself, still provide the best means for assessing the powers of the contemporary? Also, Black Square by Malevich is both a mere geometrical figure and a painting at the same time. So history cannot be understood as a fully autonomous process which takes place outside the On the New museum’s walls.

But first of all they want to show themselves to be truly alive and real — in opposition to the abstract, dead historical constructions represented by the museum system and by the art market. The artwork lives longer and keeps its original form longer in the museum than an ordinary object does in “reality. Jan 27, Sam Crisp added it. The museum is not secondary to “real” history, nor is it merely a reflection and documentation of what “really” happened outside its walls according to the autonomous laws of historical development.

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No part of this book may be reproduced in any form by any electronic or mechani- cal means including photocopying, recording, or information storage and retrieval without permis- sion in writing from the publisher. Want to Read Currently Reading Read. He also considers today’s mainstream Western art—which he finds behaving more and more according bpris norms of ideological propaganda: The contrary is true: Andros Andros rated it it was ok Feb 19, These are essays I will probably reread because, despite their poaer, they contain so much worth thinking through.

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But at the same time the museum spectator cannot test this information because it relates 36 37 On the New to the hidden inner core, the material support of the exhibited items — and not to their visible form. But I’m more than willing to admit that this is not my territory.

The judicial ideal, however, was betrayed by the art criticism of the historical avant-garde. The time comes when every artwork dies, is broken up, On the New dissolved, deconstructed — not necessarily theoretically, but on the material level. But there is no sun inside the museum. We are also confronted with artworks that aim to be both documentary and fictional, and with artistic interventions that want to be political, in the sense of transcending the borders of the art system — while at the same time remaining broys these borders.

The alleged pluralism of modern and contemporary art makes any discourse on it ultimately futile and frustrating.

Mar 05, Ellie rated it liked it Shelves: Thus all ideologically motivated art necessarily breaks with this politics of deferral, because art is always made here and now.

Of course, the strategies of comparison pursued by individual curators and critics can in turn also be criticized, but such a critique is possible only because they too can be measured against the previous curatorial strategies that are kept by the art memory.

The curator can easily exhibit an unsigned urinal, one without art status, but it will merely be regarded as an example of a certain period of European design, serve as groyys for exhibited artworks, or fulfill some other subordinate function. It is when an artwork looks like a “normal thing” that it requires the contextualization and protection of the museum.

Whoever gryos anything about art can make mistakes; the general, democratic public can make mistakes — and in fact has made them already many times in its history. In this sense art has always been directly or indirectly critical because it confronts finite, political power with images of the infinite — God, nature, fate, life, death.

At this point I can formulate more precisely what this new difference is — this difference beyond difference — of which I spoke earlier. Already in the framework of classical modernity, but especially in the context of contemporary art, individual artworks began to be paradox-objects that embody simultaneously thesis and antithesis.

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The museum provides the possibility of introducing the sublime into the banal. This perception of it as such is situated within the tradition of the European Enlightenment, which conceived of all religious icons as “profane, On the Curatorship secularized things” — and art solely as beautiful objects, as mere artworks.

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

He or she can interrupt contem- plation at any time, return, and go away again. The question is then, why have curators lost the power to create art through the act of its exhibition, and why has this power passed over to artists? The issue here is not that curators and art initiates have exclusive and elitist tastes sharply distinct from those of the broad public, but that the museum offers a means of comparing the present with the past that repeatedly arrives at conclusions other than those implied by the media.

The aim of this pharmacy will be the same, even if people will examine the powder from Rubens and all his art— a mass of ideas will arise in people, and will be often more alive than actual representation and take up less room. When it comes to assessing the market, we are de facto at the blind mercy of advice dispensed by market gurus, the purported specialists of international fashion.

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

Artists such as Mike Bidlo or Shirley Levine demonstrate, for example — through the technique of appro- priation — the possibility of shifting the historical assignment of given art forms by changing their poqer support. But it is still only the surface of the artwork that we can see as museum spectators: If he were to flesh out some of his ideas this book could turn into five books.

Does art blris its own territory that is worthy of being defended?