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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According to this tradition, the death of the museum — and of the art history embodied by the museum — must be interpreted as a resurrection of true, living art, as a turning toward true reality, life, toward the great Other: And, as all of us know well, if this kind of critique is successful it leads to the inclusion of the overlooked art in these institutions — and, therefore, ultimately, to the further stabilization of these institutions.
But today, to be really new, an artwork cannot even repeat the old differences between art objects and ordinary things. Under this premise, the struggle for recognition and equality in art has reached its logical end — and therefore become outdated and superfluous.
The issue here is not that curators and art initiates have exclusive and elitist tastes sharply distinct from those of the broad public, but that the museum offers a means of comparing the present with the past that repeatedly arrives at conclusions other than those implied by the media. In this sense art has always been directly or indirectly critical because it confronts finite, political power with images of the infinite — God, nature, fate, life, death.
This also explains why the selec- tion criteria manifested by contemporary curatorial projects so frequently differ from those that prevail in the mass media. Jan 27, Sam Crisp added it. In other words, an objective spectator at that time, confronted with the figure of Christ, could not find any visible, concrete difference between Christ and an ordinary human being — a visible difference that could suggest that Christ was not simply a man, but also the son of God.
Europe and Its Others. The death of God means that there is no power in the world that could be perceived as being infinitely more power- ful than any other. And that is probably why the museum always was — and remains — the only possible site of innovation.
Art objects are destroyed regularly by wars, catastrophes, acci- dents, time.
But this appearance of infinite plurality is, of course, only an illusion. The announcement made by Hegel that art is a thing of the past and that our epoch has become the epoch of the Concept was a proclamation of victory of the iconoclastic Enlightenment over Christian iconophilia.
Rather, it is the idea of historical representation that compels powwr museum system to collect, in the first place, all those objects that are characteristic of certain historical epochs — including the contemporary epoch. In wrt circumstances, any protest directed at the museum was simultaneously a protest against the prevailing norms of art- making — and by the same token also the basis from which new, groundbreak- ing art could evolve.
It seems to me that the numerous discourses on historical memory and its representation often overlook the complementary relationship that exists between reality and museum.
“Art Power – Introduction” by Boris Groys – A summary
Boriw rather I didn’t find much argumentation in his writing to begin with. And Thierry de Duve talks about “Kant after Duchamp,” meaning the return of personal taste after the end of art history brought about by the readymade.
And arrt is the very practices of readymades, photography, and video art that are said to provide clear proof that the tra- ditional claims of museology and art history are illusory by making evident that grohs production of images is no mysterious process requiring an artist of genius.
So one can say that every modern artwork was conceived with the goal of contradicting all other modern artworks in one way or another. In less dexterous hands, this argument could swiftly slip into hollow polemic. 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.
If the museum were ever actually to disintegrate, then the very opportunity for art to show the grojs, the everyday, the trivial as new and truly alive would be lost. The new is here not something merely poder but, rather, a reaf- firmation of the fundamental aesthetic equality of all the images in a histori- cally given context. However, the question I am more interested in at this moment is, as I said, a different one: MIT Press books may be purchased at special quantity discounts for business or sales promotional use.
The Logic of Equal Aesthetic Rights. My library Help Advanced Book Search.
As much as the behavior of dinosaurs was — at least in a certain sense — unaffected by their future representation in the modern museum, the behavior of the modern artist is affected by the knowledge of such a possibility, and in a very substantial way. This art is also made and exhibited for the masses, for those who do not necessarily wish to purchase it — indeed, the nonbuyers constitute the overwhelming and ever-increasing audience for art as it is regularly shown at the well-known Introduction international biennials, triennials, and so on.
The market operates by an “invisible hand,” it is merely a dark suspicion; it circulates images, but it does not have its own image. Without doubt, each reference to this infinity needs to be scrutinized and wielded strategically if its use in any specific representational context is to be effective. The new can be experienced as such only if it produces an effect of out-of-bounds infinity — if it opens an infinite view on reality outside of the museum.
The museum is, in this respect, like a church: In the Bible, we can find the famous statement that there is nothing new under the sun.