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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So the strategy of contemporary art consists in creating a specific context that can make a borid form or thing look other, new and interest- ing — even if this form has already been collected. We can recognize and duly appreciate a masterful painting, if indeed such a thing exists, even — and most effectively so — in a thoroughly profane space.
And contemporary art itself time and again displays an eagerness to follow the blris of the mass media age, vol- untarily abandoning the museum in the quest to be disseminated through media channels. Fill in your details below or click an icon to log in: It favors anything that establishes or maintains the balance of power and tends to exclude or try to outweigh anything that distorts this balance.
“Art Power – Introduction” by Boris Groys – A summary
But, of course, new artworks can fulfill this function only for a relatively short period of time before becoming no longer new but merely different, their distance from ordinary things having become, with time, all too obvious. In particular, he wrote: Thus Crimp, like many other authors of his generation, regards any critique of the Romantic conception of art as a critique of art as institu- tion, including the institution of the museum which is purported to legitimize itself primarily on the basis of this exaggerated and, at the same time, out- moded conception bori art.
In Art PowerGroys examines modern and contemporary art according to its ideological function. In order borid assert itself successfully “in life,” art must become different — unusual, surprising, exclusive — and history demonstrates that art can do this only by tapping into classical, mythological, and religious traditions and breaking its connection with the banality of everyday experience.
Thus the question of the autonomy of art seems to me the central question in the context of any discussion on the relationship between art and resistance. 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. gryos
But its production, evaluation, and distribution do not follow the logic of the market. Video installations bring the “great night” into the museum — it may be their most important vroys.
Mat rated it it was amazing May 05, What is at stake here is not merely that a certain desire be satisfied but that it also be recognized as socially legitimate. In this way, the advent of video and cinema installation in the museum demonstrates the finiteness of time and also reveals the distance to the light source that remains concealed under the normal conditions of video and film circulation in our popular culture.
But Groys continues with something surprising: 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.
Of course, this kind of art gets economic support from the state or from various political and religious movements. The art of the avant- garde is the art of an elitist-thinking minority not because it expresses some specific bourgeois taste as, for example, Bourdieu assertsbecause, in a way, avant-garde art expresses no taste at all — no public taste, no personal taste, not even the taste of the artists themselves.
As an example of such difference, Kierkegaard uses the figure of Jesus Christ.
Under this premise, the struggle for recognition and equality in art has reached its logical end — and therefore become outdated and superfluous. Verso, Of course, there is a reason for this neglect of the politically motivated art that was produced outside the standard bogis of the art market: 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.
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. Over the years modern artists began to assert the total autonomy of art — and not just from its sacred prehistory, but from art history as well — because every integration of an image into a story, every appropriation grroys it as illustration for a particular narrative, is iconoclastic, even if the story is that of a triumph of this image, its transfiguration, or its glorification.
Apr 04, eric rated it liked it Shelves: All of this is certainly fascinating and instructive. After the faith in the promised vision is lost, it is art that remains. 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. In fact, it is not even necessary for these works of Fischli and Weiss to be actually “made”; it is enough to tell the story that enables us to look at the “models” for boria works in a different way.
Hegel, who was the first to celebrate the force of the balance of power embodied by the modern state, believed that in modernity art had become a thing of the past.
Groys goes on to contend that this market model has become over-dominant, and that more art needs to be made according to the borix of propaganda.
But there is no sun inside the museum. This fundamental figure — the artistic appropriation of icono- clasm that produces the paradox-objects we call modern works of art — is the subject, either directly or indirectly, of the essays that follow. In fact, to be a paradox-object is the norma- tive requirement implicitly applied to any contemporary artwork.
As long as the media is the only point of reference the observer simply lacks any comparative context which would Equal Aesthetic Rights afford him or her the means of effectively distinguishing between old and new, between what is the same and what is different. And this means it cannot look like the old, dead art of the past as it is presented gfoys the museum. They go no further than asking, Who and what is new enough to represent our own time?
What this implies in practice is a narrative turn in the status of art. It is a difference not in form, but in time — namely, it is a difference in the life expectancy of individual things, as well as in their historical assignment.
And who borie what boriw good art and what is bad art? In the first case, the exclusion discriminates against regional images; the second targets mass media images. Preview — Art Power grpys Boris Groys. But at the same time the museum spectator cannot test this information because it relates 36 37 On the New to the hidden inner core, the material support of the exhibited items — and not to their visible form. That power, according to current cultural conventions, belongs to the artist alone.