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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But, in fact, this politics of equal rights on the level of aesthetics, on the level of aesthetic value, is a necessary precondition for any political engagement. The modern artwork positioned itself as a paradox-object also in this deeper sense — as an image and as a critique of the image at the same time.
When it comes to assessing the market, we are bboris facto at the blind mercy of advice dispensed by market gurus, the purported specialists of international fashion.
“Art Power – Introduction” by Boris Groys – A summary
They are qrt only presenting them- selves but also act as pointers to the inexhaustible mass of images, of which they are delegates of equal standing. The museum produces its own obscurities, invis- ibilities, differences; it produces its own concealed outside on the inside.
The desire to get rid of any image can be realized only through a new image — the image of a critique of the image. When some artists insisted on the autonomy of art, others practiced political engagement. The modern museum is capable of introducing a new difference between collected and noncollected things. But such a corporeal eternity is, of course, an illusion.
The art of modernity has developed under the regulative idea of the universal museum representing the entire history of art and creating a universal, homo- geneous space that allows the comparison of all possible artworks and the determination of their visual differences. The judicial ideal, however, was betrayed by the art criticism of the historical avant-garde.
Art Power – Boris Groys – Google Books
This is, in fact, the primary function of the museum: But in reality, the diversity of images circulating groyss the media is highly limited. And at this endpoint of history, the subject recognizes in the other its own image.
The familiar complaint that there is nothing new in art has the same root as the opposite charge that art is constantly striving to appear new. Indeed, the contemporary politics of emancipation is a politics of inclusion — directed against the exclusion of political and economical minorities. The choice of the objects for musealization is interesting and relevant for us only if it does not merely recognize and restate existing differences, but presents itself as unfounded, unexplainable, illegitimate.
And in the meantime, politics has also shifted to the domain of media-produced imagery.
And this also means that it is not possible to transfer “the entirety of visible reality” powre the museum — even in the imagination. Artworks seem to be genuinely sick and helpless — the spectator has to be led to the artwork, as hospital workers might take a visitor to see a bedridden patient. 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.
However, it can also be seen as a critical parody of our society, by condensing and exaggerating various aspects. Yes, we can grots about the autonomy of art; and, yes, art does have an autonomous power of resistance.
The museum doesn’t dictate what the new has to look like, grous only shows what it must not look like, functioning like a demon of Socrates who 26 27 On the New told Socrates only what he must not do, but never what he must do. This promise is all the more valid and credible the less these objects “deserve” such a promise, that is, the less spectacular and extraordinary they are.
Obvious examples of this are animated series like The Simpsons and South Park. Of course, it’s absolutely crucial that minds of this caliber investigate issues he investigates in real time.
Rather, it is the idea of historical wrt that compels the museum system to collect, in the first place, all those objects that are characteristic of certain historical epochs — including the contemporary epoch. And this means that by serving any political or religious ideology an artist ultimately serves art.
Therefore, it is also always possible to refer to this surplus of unwanted, unliked images — and that is what contemporary art continually does. Without doubt, each reference to this infinity needs to be scrutinized and wielded strategically if its use in any specific representational context is to be effective. Even if a car is quite recent, the difference between this car and earlier produced cars is not one of being new, because this difference can be recognized by a spectator.
Instead, these artists and theoreticians want to be bofis cally and culturally engaged in social reality; they want to reflect on their own cultural identity, express their individual desires, and so on. Indeed, Kierkegaard states that the figure of Christ initially looked like that of every other botis human being at that historical time. But today, to be really new, an artwork cannot even repeat the old differences between art objects and ordinary things.
Full text of “Boris Groys Art Power ( )”
By simulating the readymade technique, Fischli and Weiss direct our attention to the material support att revealing it, without making it visible, without re-presenting it.
It seems to me that the numerous discourses on historical memory and its representation often overlook the complementary relationship that exists between reality and museum. The museum gives us a rather clear definition of what it means for art to look real, alive, present — namely, it cannot look like already museographed, already collected art. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself — by positioning itself simultaneously groyx an image and as a critique of the image.
Grogs individual is free to place himself, against the rest of the powerr, on the side of the artwork — to number himself among those constituting the new humanity. Oksana Uygur rated it really liked it Sep 28, And it is this recognition that opens up the pos- sibility of resistance in the name of art’s autonomy, that is, in the name of the equality of all art forms and media. Here again a new difference in film reception emerges as a result of substituting the museum for an ordinary film theater.
But this unwillingness should be overcome — so that we can see modern and contemporary art for what it is, namely, a site of revelation of the paradox governing the balance of power.
When some artists and art critics found the true source of art in the subjective self-expression of an agt artist, other artists and art critics required that art thematize the objective, material condi- tions of its gorys and distribution.
Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market’s fiats of inclusion and exclusion. The death of God means that there is no power in the world that could be perceived as being infinitely more power- ful than any other.