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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Thus, as its representation, art traditionally drew its own authority from this rat. But the goal is the same: Correspondingly, politicians are now also increasingly judged on the aesthetics of their performance. While it is easy to agree that in the age of mass media our lives are dic- tated predominantly by fashion, how confused we suddenly become when asked to say precisely what is en vogue just now.
As readymade, the commodity gained unlimited access to the art world — but political propaganda did not. The museum provides the possibility of introducing the sublime into the banal. Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. For instance, if something appears to have become fashionable in Borid, one could quickly point out that this trend has long since gone ggroys of fashion measured against what is currently fashionable in, say, Tokyo or Los Angeles.
There is, therefore, nothing to say against this kind of self- critical art from within that paradigm — but the question arises if such art can also be understood as truly political art. The alleged pluralism of modern and contemporary art makes any discourse on it ultimately futile and frustrating.
No trivia or quizzes yet. 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.
Socialist Realist Art Beyond Diversity: Why does art want to be alive rather than dead?
And this effect of infinity can be produced, or, better, staged, only inside the museum: On the New In recent decades, the discourse on the impossibility of the new in art has become especially widespread and influential. Christianity takes the figure of a human being and puts it, unchanged, in the context of religion, the Pantheon of the pagan gods. 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.
The work of Fischli and Weiss demonstrates that there is an obscure infinity in the museum itself — it is the infinite doubt, the infinite suspicion of all exhibited things being simulated, being fakes, having a material core other than that suggested by their external form. 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.
New artworks function in the museum as symbolic windows opening onto a view of the plwer outside. So the powee 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. Thus at the moment at which law tri- umphs, art becomes grlys The paradoxical task of judging art in the name of the public while criticizing society in the name of art opens a deep rift within the discourse of contemporary criticism.
This makes under- standable why the notion of the new was somehow suppressed in art theoreti- cal discourse of later decades, even if the notion kept its relevance for artistic practice.
The modern museum is capable of introducing a new difference between collected and noncollected things. But the artistic embodiment of self-contradiction, of paradox, began to be especially practiced in contemporary art after World War II.
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. 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. Rather, they reflect the dominant social conventions and power structures.
They do this because they feel the threat of oblivion, of a complete loss of historical memory.
Art Power – Boris Groys – Google Books
At the same time, however, the museum’s system of rules of conduct and taboos makes its support and protection of the object invisible and unexperienceable. Such a hroys opens for a spectator a view on the infinity of the world. Poewr this unwillingness should be overcome — so that we can see modern and contemporary art for what it is, namely, a site of revelation of the paradox governing the balance of power.
That such contemplation cannot go ahead without the artwork’s being exhibited, however, remains powe indisputable fact. And the logic of the relationship between art and the universal museum follows the logic of the Hegelian Absolute Spirit: Groys believes that art can be categorised either as a commodity on the art market or a tool of political propaganda.
“Art Power – Introduction” by Boris Groys – A summary
This fact seems to preclude once and for all the possibility of writing on modern art as a specific phenomenon, as a result of the collective work of several generations of artists, curators, and theoreticians — for example, in the same manner in which one would write on Renaissance or Baroque art.
To be sure, this prognosis owed its plausibility to a certain specific notion of the museum booris that museum collections enjoy their exceptional, socially privileged status because they contain very special things, namely works of art, which are different from the normal, profane things groyw life. The representation of this politically motivated art inside gtoys art world has nothing to do with the question of whether one finds this art morally or even aesthetically good or 4 5 Introduction bad — just as nobody would ask whether Duchamp’s Fountain is morally or aesthetically good or bad.
By continuing to use this website, you agree to their use. The new powerr looks really new and alive only if it resembles, in a certain sense, every other ordi- nary, profane thing, or every other ordinary product of popular culture. Kierkegaard even rigorously opposes the notion of the new to the notion of blris, his main point being that a certain dif- ference is recognized as such only because we already have the capability to recognize and identify this difference as difference.
“Art Power – Introduction” by Boris Groys – A summary – Midnight Media Musings…
Artworks circulating on the market are singled out, decontextualized, uncurated — so that they have the apparently unadulterated chance to demonstrate their inherent value. The strategies of the artistic avant-garde, understood as the elimination of visual difference between artwork and profane thing lead directly, therefore, to the building up of museums, which secure this difference institutionally.
This fact alone is reason enough to put the dogma of pluralism in question.