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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Art — Political aspects. 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 vroys core other than that suggested by their external form.

Art Power – Boris Groys – Google Books

Thus began a time of degradation and distress for curators — the time of modern art. The less an artwork differs visually from a profane object, the more necessary it becomes to draw a clear distinction between the art context and the profane, everyday, nonmuseuological context of its occurrence.

Trivia About Art Power. With moving pictures this is no longer the case — they escape the viewer’s control. When some artists started to make abstract art, other artists began to be ultra-realistic. The amounts of art produced under these two regimes can be seen as roughly equal. The contemporary mass media has emerged as by far the largest and most powerful machine for producing images — vastly more extensive and effective than our contemporary art system.

Art Power by Boris Groys

But as Soren Kierkegaard pointed out — especially in his Philosophiscbe Brocken — being new is by no means the same as being different. Far from subverting and delegitimizing the museum as institution, then, the critique of the emphatic conception of art in fact provides a theo- retical foundation for the institutionalization and “musealization” of contem- porary art.


Robert Loss rated it really liked it May 08, It purports to be a program piece but is in fact a set of “collected essays.

But in this case, art fulfills only a secondary role powee serving the law: Already Malevich said that he was struggling against the sincerity of the artist.

We put the figure of Christ into the context of the divine without recognizing Christ as divine — and that is what makes him genuinely new. And this means it cannot look like the old, dead art of the past as it is presented in the museum. Further, this implies that Christ is really new and not merely different — and that Christianity is a manifestation of difference without difference, or, of difference beyond difference.

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.

In his essayGroys defends the role of art as political propaganda and calls for politically motivated art to be included in the discourse of modern art. 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.

Rather, this difference can qrt be explicitly thematized in the museum as obscure and unrepresentable.

Contemporary art is an excess of taste, including the pluralistic taste. In this case they gain this status precisely through being placed in the exhibition space.


Art was originally “just” art. Modern artists working after the emergence of the modern museum know in spite of all their protests and resentments that they are working primarily for the museums’ collections — at least if they are working in the context of so-called high art. Notions of originality, authenticity and presence, essential to the ordered discourse of the museum, are gdoys.

This means that all ideologically motivated art — be it religious, Communist, or Fascist — is always already affirmative and critical at the same time. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market’s fiats of inclusion and exclusion.

And contemporary art itself time and again displays an eagerness to follow the enticements of the mass media age, vol- untarily abandoning the museum in the quest to be disseminated through media channels.

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

According to this type of analysis, the art world is entirely occupied by various commercial interests that “in the last instance” dictate the criteria of inclusion and exclusion that shape the art opwer. I think I’d rather give it 2.

Apr 04, eric rated it liked it Shelves: For a critic to give up his distance meant being corrupted by the art world and neglecting his professional responsibilities: The museum space loses its own “institutional” light, which traditionally functioned as a symbolic property of the viewer, the collector, the curator.

A work of art cannot in fact present itself by virtue of its own definition and force the viewer into con- templation; it lacks the necessary arg, energy, and health.