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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On a purely material level, the art context changes permanently in a way that we cannot entirely control, reflect, or predict, so that this material change always comes to us as a surprise. De facto there is only one correct interpretation that they impose on the spectator: Groys comments on the relationships between aft and identity were stimulating.

The artist of the ancien regime was intent on creating a masterpiece, an image that would exist in its own groya as the ultimate visualization of the abstract ideas of truth and beauty.

A critique of the existing art market rules and art institutions is, of course, legitimate and necessary, but this critique makes sense only if its goal is to draw our attention to interesting or relevant art that is overlooked by these institutions. Now we seem to be happy about the loss of history, of the idea of progress, of the Utopian future — all things traditionally connected to the phenomenon of the new.

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. The museum is, in this respect, like a church: 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.

So we can say that at the moment when the universal museum is understood as the actual origin of the other, because the other of the museum is by definition the object of desire for the museum collector or curator, the museum becomes, let us say, the Absolute Museum, and reaches the end of its possible history.

The art of the avant-garde consciously withdrew itself from the judgement of the public. Avant-garde art is elitist simply because it originates under a constraint to which the general public is not subjected.


But whatever one may think about the moral dimension of nonmarket, “totalitarian” art is, in fact, of no relevance here.

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

The museum is first and foremost a place where we are reminded of the egalitarian projects of the past and where we can learn to resist the dictatorship of contemporary taste.

Some images that artists insert into the context of the inter- national art scene signal their particular ethnic or cultural origin. Gdoys seems to me to be the crucial question: But these two strategies are only ostensibly antagonistic: When people today speak of “real life,” what they usually mean is the global media market. That such contemplation cannot go gfoys without the artwork’s being exhibited, however, remains an indisputable fact.

To ask other readers questions about Art Powerplease sign up. Conversely, the artwork that does not stand out with sufficient visual distinctness from its environment is truly perceivable only ppwer the museum.

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

But this art can also be seen at the same time as a parody, critique, denigration of this vision — as evidence that nothing will change in the world even if the ideologi- cal vision becomes flesh.

This possibility of producing new differences doesn’t itself exist in reality, because On the New in reality we find only old differences — differences that we can recognize. An individual observer would not necessarily griys in a position to undertake such a comparison if the media were all he had to rely on. One cannot, that is, avoid the suspicion that the exclusion of art that was not produced under the standard art market conditions has only one ground: This is, in fact, the primary function of the museum: When some artists and art critics found the true source of grlys in the subjective self-expression of an individual artist, other artists and art critics required that art thematize the objective, material condi- tions of its production and distribution.

Is it the artist, the curator, the art critic, the collector, the art system as a whole, the art market, the general public? Of course, that art has such an autonomy does not mean that the existing art institutions, art system, art world, or art market can be seen as autonomous in any significant sense of the word. You are commenting using your WordPress. Helen rated it really liked it Oct 17, 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.


Modern art operated not only as a machine of inclusion of everything that was not regarded as art before its emergence but also as a machine of exclusion of everything that imitated already existing art patterns in a naive, unreflective, unsophisticated — grous — manner, and also of everything that was not somehow controversial, provocative, chal- lenging. The avant-garde thus introduced a rupture in society not reducible to any previously existing social differences.

Adolf Hitlers Art Theory. Email required Address never made public. Art institutions, however, are still typically portrayed in the media as places of selection, where specialists, insiders, and the initiated few pass pre- liminary judgment on what is permitted to rate as art in general, and what plwer particular is “good” art.

Correspondingly, politicians are now also increasingly judged on the aesthetics of their performance.

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This fact seems to preclude once and for pwoer 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 pkwer manner in which one would write on Renaissance or Baroque art.

Recall the “new difference” as described by Kierkeg- aard: The modern artwork is collected before it is even produced. But this is by no means the case: T I’m not going to write a review of this book because I’m really not equipped to do so. 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.

This guy has some pretty interesting ideas but I found his argumentation appalling.

Oct 26, Barry rated it really liked it.