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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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They are not only presenting them- selves but also act as pointers to the inexhaustible mass of images, of which they are delegates of equal standing.

Apr 09, Yein rated it liked it. And contemporary art itself time and again displays an eagerness to follow the enticements of the mass media age, vol- untarily abandoning the museum in the quest to be disseminated through media channels. In this grlys they gain this status precisely through being placed in the exhibition space. To see what your friends thought of this book, please sign up. Video installations bring the “great night” into the museum — it may be their most important function.

This is because every ideology, Groys writes, political or religious, has a vision or an image behind it, whereas the art market does not — it merely circulates images.

When some artists insisted on the autonomy of art, others practiced political engagement. And such a confirmation is necessary because formal aesthetic equality does not secure the factual equality of forms and media in terms of their production and distribution.

If Yroys see a certain ordinary thing in reality I immediately anticipate its death — as when it is broken and thrown away.

If the museum dies, it is death itself that dies. Even if the material existence of an individual artwork is for a certain time guaranteed, the status of this artwork as artwork depends always on the context of its presentation in a museum collection. And this is what signals the fundamental difference between market commodities and political 6 7 Introduction propaganda. Only under the presupposition powsr the equality of all visual forms and media on the groy level is it possible to resist the factual inequality between the images — as imposed from the outside, and reflecting cultural, social, political, or economical inequalities.

The City in the Age of Touristic Reproduction. So the strategy of contemporary art consists in creating a specific context that can make a certain form or thing look other, new and interest- ing — even if this form has already been collected. These traveling exhibitions and installations are temporal museums that openly display their temporality.


The struggle against the power of ideology traditionally took the form of struggle against the power of the image. This strategy has often been called elitist, but it suggests an elite equally open to anyone in so far as it excludes everyone to the same yroys. Hardcoverpages. Indeed, in order to be effectively propagated and exploited in the commercial mass media, images need to be easily recognizable for the broad target audience, rendering mass media nearly tautological.

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 grohs from the publisher. Popular culture too, can be viewed as an ideological tool of capitalism, in that all members of society are inevitably exposed to it.

These calls for the abolition of the museum appear to follow earlier avant-garde strategies and as a result are wholeheartedly qrt by the contemporary art community.

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

Of course, Boris Groys is one of the most fascinating minds of our times. It is precisely this reference to boria infinite multitude of excluded images that lends these individual specimens their fas- cination and significance within the finite contexts of political and artistic representation. After such an act of political and judicial recognition of the other by modern law, art seems to lose its historical function, which was to manifest the otherness of the other, to horis it a form, and to inscribe it in the system of historical representation.

But the lack of “arguably” in this book is a definition of Groys – a monologue, a talking head, someone who knows all the answers and offers them to the world. This preservation cannot succeed, or it can succeed only temporarily. Prevailing tastes in the nineteenth and the first part of the twentieth centuries were defined and embodied by the museum. And, indeed, contemporary art has the equality of all the images as its telos.

Yet such advice cannot be verified by any individual consumer since, as everyone knows, the global market is too vast for him or her alone to fathom.

These exhibitions should not be mistaken for mere sites of self-presentation and glorification of the values of the art market. Since then, this discourse about the end of history has made its mark particularly on the art scene.

Only if the past is not collected, if the art of the past is not secured by the museum, does it make sense — and even become a kind a moral obliga- tion — to remain faithful to the old, to follow traditions and resist the destruc- tive work of time. And this notion of a self-critical com- modity is, of course, utterly paradoxical. When some artists started to make abstract art, other artists began to be ultra-realistic. Of course, everybody who is involved in any kind of art practice or criticism is interested in these questions: Thus all ideologically motivated art necessarily breaks with this politics of deferral, because art is always made here and now.


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

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 bogis func- tions here not as a re-presentation of the other and also not as a next step in a progressive clarification of the obscure, but rather as a grogs reminder that the obscure remains obscure, that the difference between real and simulated remains ambiguous, that the longevity of things is always endangered, that infinite doubt about the grous nature of things is grpys. 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.

In no way can this urinal obtain art status — and after the end of the exhibition it will return not to the museum, but back to where it came from.

The viewer is often advised to completely abstract himself from the work’s spatial surround- ings, and to immerse herself fully in self- and world-denying contemplation. Due to this lack of vision, the market is difficult to challenge through art, even by those who position themselves against the commodification of art.

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You are commenting using your WordPress. We can make a concession to conservatives by offering that they burn all past epochs, since they are dead, and set up one pharmacy. Luca rated it it was amazing Jan 13, And, indeed, innovation does not occur in time, but rather in space: Oct 26, Barry rated it really liked it. 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 recent model produced by the car industry.