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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Such borid choice opens for a spectator a view on the infinity of the world. As is well known, modern art tried in all possible ways to make the inner, material side of the work transparent. MIT Press,4. It favors anything that establishes or maintains the balance of power and tends to exclude or try to outweigh anything that distorts this balance. Significantly, this understanding of art is also shared by the majority of those artists and art theoreticians who aim to be critical of the commodifica- tion of art — and who want art itself to be critical of its own commodification.
In his text, Malev- ich protested against this pro-museum policy of Soviet power by calling on the state to not intervene on behalf of the art collections because their destruc- tion could open the path to true, living art. What is at stake here is not merely that a certain desire be satisfied but that it also be recognized as socially legitimate.
Art Power by Boris Groys
Robert Loss rated it really liked pwer May 08, A contem- porary artwork is as good as it is paradoxical — as it is capable of embodying boria 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.
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.
I’m not going to write a review of this book because I’m really not equipped to do so. It is, of course, a completely legitimate desire.
obris At that time, he was certainly not regarded as a representative of the art world but strictly arrt an outside observer whose function was to judge and criticize works of art in the name of the public exactly as would any other well-educated observer with the time and literary facility: Poqer a spectator in the museum, one always has to submit to restrictions which function fundamen- tally to keep the material substance of the artworks inaccessible and intact so On the New that they may be exhibited “forever.
May 20, dv rated it liked it Shelves: 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. Art Power by Boris Groys.
The only exception is the art of Russian Constructivism that was created under NEP, during the temporary reintroduction of the limited free market in Soviet Russia. The familiar complaint that there is nothing new in art has the same root as the opposite charge that art is constantly striving to appear new. This is why, paradoxically, the more you want to free yourself from the museum, the 24 25 On the New more you become subjected in the most radical way to the logic of museum collecting, and vice versa.
But modern art has shown that is also possible to visualize the zero, the perfect balance of power. This perception of it as such is situated within the tradition of the European Enlightenment, which conceived of all religious icons as “profane, On the Curatorship secularized things” — and art solely as beautiful objects, as mere artworks. 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.
Full text of “Boris Groys Art Power ( )”
Indeed, the initial postmodern sorrow about the end ggroys history is gone. After the faith in the promised vision is lost, it is art that remains.
The art world should be seen as the socially codified manifestation of the fundamental equality between all visual forms, objects, and media. Thus Fountain by Duchamp is artwork and non-artwork at the same time. 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 degree.
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. And rightly so, it might be added, for the museum’s conceptual frameworks are illusory: The art critic of today inherited the older public office along with the avant-garde betrayal of this office.
Of course, the artist can also deploy his or her art as a political instrument in the context of various continuing political struggles — as an act of political commitment. It is impossible for an average spectator to distinguish between, say, the origi- nal Picasso work and the Picasso work appropriated by Mike Bidlo.
“Art Power – Introduction” by Boris Groys – A summary
Historically significant objects no longer needed to be devalued in order to serve as art. Art was originally “just” art. At times he reaches conclusions that are by no means explained or proven, and often makes blanket statements. The modern museum is capable of introducing a new difference between collected and noncollected things.