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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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 of it as illustration for a particular narrative, is iconoclastic, even if grojs story is that of a triumph of this image, its transfiguration, or its glorification.

Quite the opposite is the case. The conditions in which the work is exhibited should be reduced to white walls and good lighting. To recognize means, always, to remember. But what is, actually, this goal itself? Museums are increasingly being viewed today with skepticism and mistrust by both art insiders and the general poer.

Art Power by Boris Groys

Hardcoverpages. 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. The self- critical artwork is a paradox-object that fits perfectly in the dominating paradigm of modern and contemporary art. In our time, the context is seen as changing and unstable.

The context, meaning, and function of these calls to abolish the museum system Equal Aesthetic Rights have undergone a fundamental change since the days of the avant-garde, even if at first sight the diction of these calls seems so familiar. Yet who can guarantee that the same Berlin fashion won’t at some later date also hit the streets of Los Angeles poaer Tokyo? Any nonparadoxical or only partially paradoxical reaction should be regarded in this case as reductive and, in fact, false.

To be present, art has also to look present. Zeljka Sancanin rated it really liked it Jul 31, But in reality, the diversity of images circulating in the media is highly limited. Only under the presupposition of the equality of all visual forms and media on the aesthetic 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.

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This promise is all the more valid and credible the less these objects “deserve” such a promise, that is, boriis less spectacular and extraordinary they are. To find out more, including how to control cookies, see here: At that time, he was certainly not regarded as a representative of the art world but strictly as an outside observer whose function was to judge and criticize works of art xrt the name of the rgoys exactly as would any other well-educated observer with the powerr and literary facility: If you saw these objects, let us say, in the atelier of Fischli and Weiss, you could take them in your hand and weigh them — an experience that would be impos- sible in a museum since it is forbidden to touch exhibited objects.

Obvious examples of this are animated series like The Simpsons and South Park.

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

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 affirma- tive and critical potential of art demonstrates powr, therefore, much more powerfully and productively in the context of politics than in the context of the market.

Who decides what is art and what is not art? The general public now draws its notion of art from advertising, MTV videos, video games, and Hollywood blockbusters. Already in the framework of classical modernity, but especially in the context of contemporary art, individual artworks began bori be paradox-objects that embody simultaneously thesis and antithesis.

Notify me of new comments via email. This means that all ideologically motivated art — be it religious, Communist, or Fascist — is always already affirmative and critical at the same time. The less an artwork differs visually from a profane bori, the more necessary it becomes to draw a clear distinction between the art context and the profane, everyday, nonmuseuological context of its occurrence.


When and under what conditions does art appear to be most alive? More pertinently, it can be read as an expanded version of Perry Anderson’s claim that aesthetic pluralism might save us from the tyranny of chronologically defined art, from modernism, postmodernism, and, presumably, the threat of post-postmodernism [1]. Now the museum — earlier, a place of complete visibility — becomes a place where we cannot compensate for a 40 41 On the New missed opportunity to contemplate — where we cannot return to the same place to watch the same thing we saw before.

Sacred objects were once devalued to produce art; today, in contrast, profane objects are valorized to become art.

But the artistic embodiment of self-contradiction, of paradox, began to be especially practiced in contemporary art after World War II.

The representation of this politically motivated art inside the 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.

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

Contemporary art works on the level of context, framework, background, or of a new theoretical interpretation. Therefore, it is also always possible to refer bkris this surplus of unwanted, unliked images — and that is what contemporary art continually does.

Rather, the comparison takes place before the emergence of the new artwork — and virtually produces this new artwork.

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 give it a form, and to inscribe it in the system of historical representation.