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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Thus all ideologically motivated art necessarily breaks with this politics of deferral, because art is always made here and now. The judicial ideal, however, was betrayed by the art criticism of the historical avant-garde. But, given what Groys says about the dangers of reverence, it seems fair to point out that there remains a blind spot here.
The City in the Age of Touristic Reproduction. In exhibiting a urinal, Duchamp does not devalue a sacred icon, as the museum curators had done; he rather upgrades a mass-produced object to an artwork.
In this sense we can say that it is the police that, in the last instance, guarantee the opposition between art and non-art — the police who are not yet aware of the end of art history.
The mass media constantly renew the claim to confront the spectator with different, groundbreaking, provocative, true and authentic art. And this effect of infinity can be produced, or, better, staged, only inside the museum: Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market’s fiats of inclusion and exclusion.
You are commenting using your WordPress. Art — Political aspects. But the equality of all images exceeds the pluralistic, democratic equality of aesthetic taste. 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.
Such shifting produces again and again the effect of newness, openness, infinity, using signifiers that make art objects look different from those of the museal- ized past and identical with mere things and popular cultural images circulat- ing in the space outside the museum.
On the other hand, many protagonists of the art world believe that now, after the end of art history, the only criterion left for measuring the quality of an individual artwork is its success on the art market. This invisibility is irreducible.
The materialization, realization of the ideological vision must be always postponed — to the apocalyptic end of history, or to the coming community of the future. However, not even the 44 45 On the Curatorship renowned white cube is always good enough for this purpose.
But this unwillingness should be overcome — so that we can see modern and contemporary art powef what it is, namely, a site of revelation arg the paradox governing the balance of power.
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. 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.
Zeljka Sancanin rated it really liked it Jul 31, Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself — by positioning itself simultaneously as an image and as a arr of the image. Oct 26, Barry rated it arh liked it. Thus, social or political zrt in the name of art has an affirmative dimension that transcends its immediate historical context. This issue of relative life expectancy also draws our attention to the social and political conditions under which these items are collected into the museum and thereby guaran- teed longevity.
With age, I become only more wary of someone who already knows everything. And Broodthaers said — when boeis started to do art — that he wanted to do some- thing insincere.
“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 material support. Such art does not reduce itself to the representation of power — it participates in the struggle for power that it interprets as the only way in which the true balance of power could reveal itself.
All these value judgments, criteria, and rules are, of course, not autonomous. The viewer is often advised to completely abstract himself from artt work’s spatial surround- ings, and to immerse herself fully in self- and world-denying contemplation. The material support cannot be revealed in the individual artwork — even if many artists and theoreticians of the historical avant-garde wanted it to be revealed.
Art Power by Boris Groys
This gesture is always contextual and historically specific, but it also has paradigmatic importance as a model for further repeti- tions of this gesture. But, of course, I mean “art” to be under- stood as the result of a long battle for recognition that took place over the course of modernity.
We can name this demonic voice, or presence, “the inner curator. Thought-provoking read, even if it suffers from a mix of over-complex and pretentious passages where the author seems to have the right interpretation for everything.
I’ll try to show that it is the inner logic of museum collecting itself that compels the artist to go into reality — into life — and make art that is seen as being alive. But, of course, new artworks can fulfill this function only for a relatively short period of time before becoming no borus new but merely different, their distance from ordinary things having become, with time, all too obvious.
To find out more, including how to control cookies, see here: The autonomy of art has been denied in many recent art-theoretical bois.
When we turn away from a video, we usually miss something. The contemporary mass media has emerged as by far the largest and most powerful machine for aet images — vastly more extensive and effective than our contemporary art system. This would be no different than the worship of idols in the Kaaba that went on before Our Prophet, peace and blessings be upon him, had them destroyed In the modernist tradi- tion, the art context was regarded as stable — it was the idealized context of the universal museum.
The choice of the objects for borus is interesting and relevant for us only if it does not merely recognize and restate existing differences, but presents itself as unfounded, unexplainable, illegitimate. Put another way; is the fate of art to be mere illustration? Selected pages Title Page.