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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T I’m not going to write a review of this book because I’m really not equipped to do so. To be insincere means in this context to make art beyond all taste — even beyond one’s own taste. These calls for the abolition of bois museum appear to follow earlier avant-garde strategies and as a result are wholeheartedly embraced by the contemporary art community.
This has guaranteed bkris a chance of survival under the conditions of radical secularization and de-ideologization — in a perspective that goes far beyond that of being a mere commodity on the art market.
But in this case, art fulfills only a secondary role of serving the law: Modern art has demon- strated time and again its power by appropriating the iconoclastic gestures directed against it and by turning these gestures into new modes of art pro- duction.
Here we are also dealing with difference beyond difference — now understood as difference between the artwork and the ordinary, profane object. Does art hold any bkris of its own, or it is only able to decorate external powers — whether these are powers of oppression or liberation?
The axes of aesthetic life would, in other words. An artist operates on the same territory as ideology. He also considers today’s mainstream Western art—which he finds behaving more and more according the norms of ideological propaganda: Artists such as Mike ;ower or Shirley Levine demonstrate, for example — through the technique of appro- priation — grpys possibility of shifting the historical assignment of given art forms by changing their material support.
Even more, the repetition of the old and traditional becomes a socially forbidden, or at least unreward- ing, practice. To do so would be to grys alert the alarm system, the museum personnel, and then the police. Or rather I didn’t find much argumentation in his writing to begin with.
Under these conditions alone — beyond any kind of curating, that is — can one’s encounter with an artwork be regarded as authentic and genuinely successful. Of course, one can easily argue that such propaganda art is simply political design- and image-making. The City in the Age of Touristic Reproduction. Their difference from standard ready- mades, as I said, cannot be seen, because the inner materiality of the powwer cannot be seen.
In particular, he wrote: Yet, such artificial longevity of an artwork can only be relative. In our time, the context is seen as changing agt unstable.
At times he reaches conclusions that are by no means explained or proven, and often makes blanket statements. In other words, the very idea of abandoning or even abolishing the museum would close off the possibility of holding a critical inquiry into the claims of innovation and difference with which we are constantly confronted in today’s media.
The fiction of the creating subject gives way to the frank confiscation, quotation, excerptation, accumulation and repetition of already existing images. 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. The new is here not something merely different but, rather, a reaf- firmation of the fundamental aesthetic equality of all the images in a histori- cally given context.
It is in fact no coincidence that the word “curator” is etymologically related to “cure. Museum collecting is governed, in modernity, not by some well-established, definite, normative taste with a clear origin in the past. Hence, it is not to the “vertical” infinity of divine truth that the artist today makes reference, but to the “horizontal” infinity of aesthetically equal images. At this point I can formulate more precisely what this new difference is — this difference beyond difference — of which I spoke earlier.
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.
Or to put it differently, the best curating is nil-curating, non- curating.
Art Power – Boris Groys – Google Books
But it is extremely diffi- cult — actually impossible — to stabilize this context over a long period of time. It is also interesting that even the most severe judgment on the moral dimensions of the free market never leads anybody to conclude that art that was and is grkys under those market conditions should be excluded from aet and historical consideration.
At the same time, the artwork remains under the ideological regime a paradox-object. These examples could mislead us to conclude that contemporary art always acts ex negativo, that its reflex in any situation is to adopt a critical position merely for the sake of being critical.
“Art Power – Introduction” by Boris Groys – A summary
Both make reference to something that is excluded from a particular cultural context. Return to Borix Page. However, the question I am more interested in at this moment is, as I said, a different one: With these insults disguised as institutional critique artists won the general public over to their side, because the general public didn’t know all the art history; it didn’t even want to hear it.
This fact alone is reason enough to put the dogma of pluralism in question. This seems to me to be the crucial question: But the equality of all images exceeds the pluralistic, democratic equality of aesthetic taste.
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 announcement made by Hegel that art is a thing of the past and that our epoch has become the epoch of pkwer Concept was a proclamation of victory of the iconoclastic Enlightenment over Christian iconophilia.
Also, Black Square by Malevich is both a mere geometrical figure and a painting at the same time. A contem- porary artwork is as good as it is paradoxical — as it is capable of embodying the most radical self-contradiction, as it is capable of contributing to establish- ing and maintaining the perfect balance of power between thesis and antith- esis.
Art Power by Boris Groys
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. Good art is precisely that practice which aims at confirmation of this equality.
These artists know from the beginning that they will be collected — and they actually want to be collected.