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

And that means that in the context of political propaganda, art remains as powerless as it is in the context of the art market. Email required Address never made public.

In recent times, the status of the museum as the site of a permanent collection is gradu- ally shifting to one of the museum as theater for large-scale traveling exhibi- tions organized by international curators, and large-scale installations created by individual artists. It would need a bit more of editing to avoid repeating same concepts more than twice as it’s shown as a series of essays but are outlined like chapters.

Indeed, the initial postmodern sorrow about the end of history is gone. Of course, it’s absolutely crucial that minds of this caliber investigate issues he investigates in real time. In fact, art always attempted to represent the greatest possible power, the power that ruled the world in its totality — be it divine or natural power.

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.

On the other hand, many protagonists of the art world believe that now, after the end of art history, the only criterion left for measuring the quality of an individual artwork is its success on the art market. The materiality of the museum is a guarantee that the production of the new in art can ar all ends of history, precisely because it demon- strates that the modern ideal of universal and transparent museum space as a representation of universal art history is unrealizable and purely ideological.

But under the conditions of the contemporary art scene, arf more attention is devoted to the history of art as commodity and much less to art as political gdoys. But in our time the museum has indisputably been stripped of its normative role.


Vincent Blok rated it it was amazing Dec 28, Contemporary art works on the level of context, framework, background, or of a new theoretical interpretation.

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 vitality, energy, and health. The official as well as unofficial art of the Soviet Union and of other former Socialist states remains almost completely out of focus for the contemporary art history and museum system.

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. Instead, brand new, profane objects signed att to be recognized as artworks because they allegedly embodied artistic value. Were this indeed the case, the regime borris equal rights for all images would have to be regarded not wrt as the telos of the logic followed by the history of modern art, but also as its terminal negation.

However, Groys argues that the pluralism itself and the constant contradiction of other works is the common theme that unites all modern art.

Its most interesting character- istic is a certain feeling of happiness, of positive excitement about this alleged end of the new — a certain inner satisfaction that this discourse obviously produces in the contemporary cultural milieu. However, the question Arg am more interested powwer at this moment is, as I said, a different one: Groys comments on the relationships between history and identity were stimulating.

Neither is it possible to fulfill the old Nietzschean dream of aestheticizing the world in its totality, in order to achieve the identification of reality with the museum. That is, he couldn’t imagine that the balance of power could be shown, could be presented as an image.

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. If he were to flesh out some of his ideas this book could turn into five books.

The global media market lacks in particular the historical memory that would enable the spectator to compare the past with the present and thereby determine what is truly new and genu- inely contemporary about the present. Further, this implies wrt Christ is really new and not merely different — and that Christianity is a manifestation of difference without difference, or, of difference beyond difference.


Art, Groys writes, is produced and brought before the public in two ways—as a commodity and as a tool of ;ower propaganda. That is why it is necessary to keep the museums and, in general, art institutions as places where the visual vocabulary of the contemporary mass media can be critically compared to the art heritage of the previous epochs and where we can redis- cover artistic visions and projects pointing toward the introduction of aes- thetic equality.

Why does art refuse to seek legitimacy on the open market just like any other product? If we look more closely at the figure of Jesus Christ as described by Kierkegaard, it is striking that it appears to be quite similar to what we now call the “readymade.

Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself—by positioning itself simultaneously as an image and as a critique of the image.

Hence, it is not to the “vertical” infinity of divine truth that the artist today makes reference, but to the “horizontal” infinity of aesthetically equal images.

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

In reality itself we are confronted only with dead differences — like the difference between a new and an old car. Boeis opening up to the big world outside the closed spaces of the art system produces, on the contrary, a poer blind- ness to what is contemporary and present. MIT Press books may be purchased at special quantity discounts for business or sales promotional use. Of course, the readiness on the part of many artists to become involved in the media, in broader public communication and poli- tics — in other words to engage in “real life” beyond the boundaries of the museum — is quite understandable.