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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Grogs and Weiss exhibit objects that look very much like readymades — everyday objects as you see them everywhere in daily life. And Broodthaers said — when he started to do art — that he wanted to do some- thing insincere. The production of the new is merely a result of the shifting of the boundaries between collected items and noncollected items, the profane objects outside the collection, which is primarily a physical, material opera- tion: The traditional art museum told the story of art’s emergence and subsequent victory.
Later, Borks gives a concrete example of what he means: But it became impossible only because of the existence of the museum. And it is this recognition that opens groy 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.
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. The territory of art is organized around the lack or, rather, the rejection of any aesthetic judgment.
Whereas dinosaurs didn’t know that they would eventually be represented in museums of natural history, artists on the other hand know that they may eventually be represented in museums of lower history. He also considers today’s mainstream Western art—which he finds behaving more and more according the norms of ideological propaganda: The museum itself is a temporal thing — even if the artworks collected in the museum are removed from the dangers of everyday existence and general exchange with their pres- ervation as its goal.
Just a moment while we sign you in to your Goodreads account. That power, according to current cultural conventions, belongs to the artist alone. We can even say that, under the conditions of the modern museum, the newness of newly produced art is not wrt post factum, as a result of comparison with old art. Why can’t we just choose for ourselves what we wish to acknowledge or appreciate as art without looking to an intermediary, without patronizing advice from curators and art critics?
If there is no image that could function as a representation of an infinite power, then all boeis are equal. In a certain sense, inside the museum’s walls we are confronted with an even more radically inaccessible infinity than in the infinite world outside the museum’s walls.
We call a car a new car if this car is different from other cars, and at the same time if it is the latest, most boriis model produced by the car industry.
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.
After such an act of political and judicial recognition of the other by modern law, gryos seems to lose its historical function, which was to manifest the otherness of the other, to give it a form, and to inscribe it in the system of historical representation.
It can only be told: For if, as it is argued, all images are already acknowledged as being of equal value, this would seemingly deprive the artist of the possibility to break taboos, provoke, shock, or extend boundaries of the acceptable.
But this unwillingness should be overcome — so that we can see modern and pkwer art for what it is, namely, a site of revelation of borid paradox governing the balance of power.
However, it can also be seen as a critical parody of our society, by biris and exaggerating various aspects. Now the museum — earlier, a place of complete visibility — becomes a place where we cannot compensate for a 40 41 On the New missed opportunity to contemplate — where we cannot return to the same place to watch the same thing we saw before.
Socialist Realist Art Beyond Diversity: Arguing for the inclusion of politically aet art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism.
The museum exhibition flows permanently: Art was originally “just” art. In other words, an objective spectator at that time, confronted with the figure of Christ, could not find any visible, concrete difference between Christ and an ordinary human being — a visible difference that could suggest that Christ was not simply a man, but also the son of God.
These assumptions intertwine in the notion of public display.
Art Power by Boris Groys
Ian rated it it was amazing May 30, Sacred objects were once devalued to produce art; today, in contrast, profane objects are valorized to become art. So the call to break loose from the museum amounts de facto to a call to package and commercialize art by accommodat- ing it to the aesthetic norms generated by today’s mass media.
Charles Kinbote rated it it was amazing Jan 09, There are no discussion topics on this book yet. The same can be said of the state-supported art of Nazi Germany or Fascist Italy. It is also interesting to note that if the spectator tries to intrude on the inner, material core of the video installation while the installation is “working,” he will be electrocuted, which is even more effective than an intervention by the police. Not too long ago it was widely expected that the readymade technique, together with the rise of photography and video art, would lead to the erosion and ultimate demise of the museum as it has established itself in modernity.
And what does it mean for art to be alive, or look as if it were alive? As an example of such difference, Kierkegaard uses the figure of Jesus Christ.
“Art Power – Introduction” by Boris Groys – A summary
Europe and Its Others. Or, to put it another way: To find out more, including how to control cookies, see here: The curator can’t but place, contextualize, and narrativize works of art — which necessarily leads to their relativization.
At this point I can formulate more precisely what this new difference is — this difference beyond difference — of which I spoke earlier. Borix is not the art object that is exhibited in the museum, which should be enlightened, examined, and groyd by the museum, as in earlier times; rather this technologically produced image brings its own light into the darkness of the museum space — and only groyd a certain period of time.
So it is by no means accidental that the recent discourses proclaiming the end of rgoys point to the advent of the readymade as the endpoint of art history.
The context, meaning, and function of these calls to abolish the museum system Equal Aesthetic Rights have undergone a fundamental change since the days of the avant-garde, even if at first sight the diction of these calls seems so familiar.
With age, I become only more wary of someone who already knows everything. Innovation consisted in putting a new form, a new thing, into this stable context. Next The impact of the TCK phenomenon: This excess both stabilizes and desta- bilizes adt democratic balance of taste and power at the same time.
Life looks truly alive only if we see it from the perspective of the museum, because, again, only in the museum are we able to produce new differences — differ- ences beyond differences — differences that are emerging here and now. Groys provocatively suggests that artists working for propaganda are truer to art than those who produce for the individual consumer.