Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market's fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideologi...
Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market's fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways—as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function; the official and unofficial art of the former Soviet Union and other former Socialist states, for example, is largely excluded from the field of institutionally recognized art, usually on moral grounds (although, Groys points out, criticism of the morality of the market never leads to calls for a similar exclusion of art produced under market conditions).
Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today’s mainstream Western art—which he finds behaving more and more according to the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. 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. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.
作者简介
· · · · · ·
Boris Groys is Professor of Philosophy and Art Theory at the Academy for Design in Karlsruhe, Germany, and Global Professor at New York University. He is the author of many books, including Ilya Kabakov: The Man Who Flew into Space from His Apartment (2006) and Art Power (2008), both published by the MIT Press.
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, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of modern art is not a pluralistic fi eld but a f i eld strictly structured according to the logic of contradiction . It is a fi eld where every thesis is supposed to be confronted with its antithesis. (查看原文)
Already Malevich said that he was struggling against the sincerity of the artist. And Broodthaers said—when he started to do art—that he wanted to do something insincere. To be insincere means in this context to make art beyond all taste—even beyond one’s own taste. (查看原文)
“In our culture, we have two different models that allow us to gain control over time: The immobilization of the image in the museum, and the immobilization of the audience in the movie theater. Both ...“In our culture, we have two different models that allow us to gain control over time: The immobilization of the image in the museum, and the immobilization of the audience in the movie theater. Both models, however, fail when moving images are transferred into the space of a museum.” 哈哈哈哈哈反正要一个不能动就行！(展开)
The curator may exhibit, but he doesn't have the magical abilitity to transform nonart into art through the act of display. That power, according to current cultural conventions, belongs to the artist alone.(43) The question is then, why have curators lost the power to create art through the act of its exhibition, and why has this power passed over to artists? The answer is obvious : In exhibti...
2018-10-21 16:03:231人喜欢
The curator may exhibit, but he doesn't have the magical abilitity to transform nonart into art through the act of display. That power, according to current cultural conventions, belongs to the artist alone.(43)引自 On the CuratorshipThe question is then, why have curators lost the power to create art through the act of its exhibition, and why has this power passed over to artists? The answer is obvious : In exhibting a urinal, Duchamp does not devalue a sacred icon, as the museum curators had done; he rather upgrades a mass-produced objcet to an artwork.(44)引自 On the CuratorshipOver the yearsmodern 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 the troy is that of a triumph of this image, its transfiguration, or its glorification. Acoording to tradition of modern art, an image must speak for itself; it must immediately convince the spectator, standing in sllent contemplation, of its own value. The conditions in which the work is exhibited should be reduced to white walls and good lighting. Theoretical and narrative discourse is a distraction, and must stop. Even affirmative discourse and favorable display were regarded as distoring the message of the artwork itself. As a result : Even after Duchamp the act of exhibiting any object as an artwork remained ambivalent, that is, partially iconophile, partially iconoclastic.(44-45)引自 On the CuratorshipA work of art cannot in fact present itself by virtue of its own definition and force the viewer into contemplation; it lacks the necessary vitality, energy, and health. Artworks seem to be genuinely sick and helpless - the spectator has to be led to the artwork, as hospital workers might take a visitor to see a bedridden patient. It is in fact no coincidence that the word "curator" is etymologically related to "cure". Curating is curing.(46)引自 On the CuratorshipThe art work needs external help, it needs an exhibition and curator to become visible.(46)引自 On the CuratorshipBy placing an artwork in a controlled environment, in the context of other carefully chosen objects, and above all involving it in a specific narrative, the curator is making an iconoclastic gesture.(47)
We see artworks as incarnating art. The famous distinction between art and non-art is generally understood as a distinction between objects inhabited and animated by art and those from which art is absent. This is how works of art become art's idols, that is analogously to religious images, which are also believed to be inhabited or animated by gods.(49)引自 On the CuratorshipSuch documentation, however, merely refers to art without itself being art. This type of documentation is often presented in the framework of an art installation for the purpose of narrating a certain project or action. Instead they become documents, illustrations of the story told by the installation. One could say that today's art audience increasingly encounters art documentation, which provides information about the aertwork itself, be it art project or art cation, but which in doing so only confirms the absence of the artwork.(49)引自 On the CuratorshipOn the one hand, images in the museum are aestheticized and transformed into art; on the other, they are downgraded to illustrations of art history and therby dispossessed of their art status.(51)引自 On the CuratorshipThis double abuse of images, this doubled iconoclastic gesture, is only recently being made explicit, because instead of narrating the canon of art history, independent curators are beginning to tell each otehr their own contradictory stories. In addition, these stories are being tole by means of temporary exhibitions (which carry their own time limitations), and recorded by incomplete and frequently even incomprehensible documentation. The exhibtion catalog for a curatorial project that already presents a double abuse can only produce a further abuse. Images don't merge into the clearing of Being on their own accord, where their original visibility is then muddied by the "arr business," as Heidegger describes it in The Origin of the Worf of Art. It is far more than this very abuse makes them visible.(51-52)引自 On the Curatorship
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, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of mo...
2018-10-18 05:12:501人喜欢
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, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of modern art is not a pluralistic fi eld but a f i eld strictly structured according to the logic of contradiction . It is a fi eld where every thesis is supposed to be confronted with its antithesis. 引自 IntroductionAlready Malevich said that he was struggling against the sincerity of the artist. And Broodthaers said—when he started to do art—that he wanted to do something insincere. To be insincere means in this context to make art beyond all taste—even beyond one’s own taste. 引自 IntroductionBut the artistic embodiment of self-contradiction, of paradox, began to be especially practiced in contemporary art after World War II. At this point we are confronted with paintings that could be described as both realistic and abstract at the same time (Gerhard Richter), or objects that can be described as both traditional sculptures and as readymades at the same time (Fischli/Weiss), to mention just a few examples.引自 IntroductionBeing one-sided and aggressive is, of course, at least as modern as being moderate and seeking to maintain the balance of power. 引自 Introduction
Art functions as commodity or political propaganda? he devides it into two categories.
After the end of World War II and especially after the change of regime in the former Socialist Eastern European countries, the commercial system of art production and distribution dominated the political system. The notion of art became almost synonymous with the notion of the art market, so that the art produced under the nonmarket conditions was de facto excluded from the fi eld of institutionally recognized art. 引自 Introduction
the city per se possesses an intrinsically utopian dimension by virtue or being situated outside the natural order. p101 The quest for utopia forces the city into a permanent process of surpassing and destroying itself.p101 Today, when we cease to be satisfied with the life that is offered to us in our own city, we no longer strive to change, revolutionaize, or rebuild it; instead, we simply mo...
2019-04-18 10:09:20
the city per se possesses an intrinsically utopian dimension by virtue or being situated outside the natural order. p101
The quest for utopia forces the city into a permanent process of surpassing and destroying itself.p101
Today, when we cease to be satisfied with the life that is offered to us in our own city, we no longer strive to change, revolutionaize, or rebuild it; instead, we simply move to another city. p102引自 The age of Tourist Reproduction
Romantic tourist
The romantic tourist is not in search of universal utopian models but of cultural differences and local identities. His gaze directed not at the future but at past provenance.p113
The touristic gaze romanticizes, monumentalizes, and ternalizes everything that comes within its range. In turn, the city adapts to this materialized topia, to the medusan gaze of the romantic tourist. p103
It was tourism that created these monuments. It is tourism that monumentalizes a city.p103
...The residents sense the need to assimilate the globalized gaze pointed at them and to adjust their own way of life to the aesthetic predilections of their visitors. p105引自 The age of Tourist Reproduction
Post-romantic tourism
Rather than the individual romantic tourist, it is instead all manner of people, things, signs, and images drawn from all kinds of local cultures that are now leaving their places of origin and undertaking journeys around the world. p105
Cities are no longer waiting for the arrival of the toursit --they too are starting to join global circulation.p105引自 The age of Tourist Reproduction
World City
all cities now increasingly resemble one another and are beginning to homogenize, with the result that when a tourist arrives in a new city he ends up seeing the same things he encountered in all the other cities. p105
...much of what one witnesses there as "authentically Chinese" has long been familiar to visitors from America or Europe, where such Chinese attributes can be found in any town or city. p106
This world city operates like a reproductive machine that relatively swiftly multiplies any local attribute of one particular city in all other cities around the world. p106引自 The age of Tourist Reproduction
Art in the age of Tourist Reproduction
We are now prepared to be attracted and persuaded particularly by artistic strategies capable of producing art that achieves the same degree of success regardless of the cultural context and conditions in which it is viewed. p107
What especially impresses us about all things, customs, and practices is their capacity for reproduction, dissemination, self-preservation, and survival under the most diverse local conditions. p107
As a consequence of total tourism we are now witnessing the emergence of a homogeneity bereft of all universality, an utterly new and up-to-date development. p108引自 The age of Tourist Reproduction
the city per se possesses an intrinsically utopian dimension by virtue or being situated outside the natural order. p101 The quest for utopia forces the city into a permanent process of surpassing and destroying itself.p101 Today, when we cease to be satisfied with the life that is offered to us in our own city, we no longer strive to change, revolutionaize, or rebuild it; instead, we simply mo...
2019-04-18 10:09:20
the city per se possesses an intrinsically utopian dimension by virtue or being situated outside the natural order. p101
The quest for utopia forces the city into a permanent process of surpassing and destroying itself.p101
Today, when we cease to be satisfied with the life that is offered to us in our own city, we no longer strive to change, revolutionaize, or rebuild it; instead, we simply move to another city. p102引自 The age of Tourist Reproduction
Romantic tourist
The romantic tourist is not in search of universal utopian models but of cultural differences and local identities. His gaze directed not at the future but at past provenance.p113
The touristic gaze romanticizes, monumentalizes, and ternalizes everything that comes within its range. In turn, the city adapts to this materialized topia, to the medusan gaze of the romantic tourist. p103
It was tourism that created these monuments. It is tourism that monumentalizes a city.p103
...The residents sense the need to assimilate the globalized gaze pointed at them and to adjust their own way of life to the aesthetic predilections of their visitors. p105引自 The age of Tourist Reproduction
Post-romantic tourism
Rather than the individual romantic tourist, it is instead all manner of people, things, signs, and images drawn from all kinds of local cultures that are now leaving their places of origin and undertaking journeys around the world. p105
Cities are no longer waiting for the arrival of the toursit --they too are starting to join global circulation.p105引自 The age of Tourist Reproduction
World City
all cities now increasingly resemble one another and are beginning to homogenize, with the result that when a tourist arrives in a new city he ends up seeing the same things he encountered in all the other cities. p105
...much of what one witnesses there as "authentically Chinese" has long been familiar to visitors from America or Europe, where such Chinese attributes can be found in any town or city. p106
This world city operates like a reproductive machine that relatively swiftly multiplies any local attribute of one particular city in all other cities around the world. p106引自 The age of Tourist Reproduction
Art in the age of Tourist Reproduction
We are now prepared to be attracted and persuaded particularly by artistic strategies capable of producing art that achieves the same degree of success regardless of the cultural context and conditions in which it is viewed. p107
What especially impresses us about all things, customs, and practices is their capacity for reproduction, dissemination, self-preservation, and survival under the most diverse local conditions. p107
As a consequence of total tourism we are now witnessing the emergence of a homogeneity bereft of all universality, an utterly new and up-to-date development. p108引自 The age of Tourist Reproduction
The curator may exhibit, but he doesn't have the magical abilitity to transform nonart into art through the act of display. That power, according to current cultural conventions, belongs to the artist alone.(43) The question is then, why have curators lost the power to create art through the act of its exhibition, and why has this power passed over to artists? The answer is obvious : In exhibti...
2018-10-21 16:03:231人喜欢
The curator may exhibit, but he doesn't have the magical abilitity to transform nonart into art through the act of display. That power, according to current cultural conventions, belongs to the artist alone.(43)引自 On the CuratorshipThe question is then, why have curators lost the power to create art through the act of its exhibition, and why has this power passed over to artists? The answer is obvious : In exhibting a urinal, Duchamp does not devalue a sacred icon, as the museum curators had done; he rather upgrades a mass-produced objcet to an artwork.(44)引自 On the CuratorshipOver the yearsmodern 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 the troy is that of a triumph of this image, its transfiguration, or its glorification. Acoording to tradition of modern art, an image must speak for itself; it must immediately convince the spectator, standing in sllent contemplation, of its own value. The conditions in which the work is exhibited should be reduced to white walls and good lighting. Theoretical and narrative discourse is a distraction, and must stop. Even affirmative discourse and favorable display were regarded as distoring the message of the artwork itself. As a result : Even after Duchamp the act of exhibiting any object as an artwork remained ambivalent, that is, partially iconophile, partially iconoclastic.(44-45)引自 On the CuratorshipA work of art cannot in fact present itself by virtue of its own definition and force the viewer into contemplation; it lacks the necessary vitality, energy, and health. Artworks seem to be genuinely sick and helpless - the spectator has to be led to the artwork, as hospital workers might take a visitor to see a bedridden patient. It is in fact no coincidence that the word "curator" is etymologically related to "cure". Curating is curing.(46)引自 On the CuratorshipThe art work needs external help, it needs an exhibition and curator to become visible.(46)引自 On the CuratorshipBy placing an artwork in a controlled environment, in the context of other carefully chosen objects, and above all involving it in a specific narrative, the curator is making an iconoclastic gesture.(47)
We see artworks as incarnating art. The famous distinction between art and non-art is generally understood as a distinction between objects inhabited and animated by art and those from which art is absent. This is how works of art become art's idols, that is analogously to religious images, which are also believed to be inhabited or animated by gods.(49)引自 On the CuratorshipSuch documentation, however, merely refers to art without itself being art. This type of documentation is often presented in the framework of an art installation for the purpose of narrating a certain project or action. Instead they become documents, illustrations of the story told by the installation. One could say that today's art audience increasingly encounters art documentation, which provides information about the aertwork itself, be it art project or art cation, but which in doing so only confirms the absence of the artwork.(49)引自 On the CuratorshipOn the one hand, images in the museum are aestheticized and transformed into art; on the other, they are downgraded to illustrations of art history and therby dispossessed of their art status.(51)引自 On the CuratorshipThis double abuse of images, this doubled iconoclastic gesture, is only recently being made explicit, because instead of narrating the canon of art history, independent curators are beginning to tell each otehr their own contradictory stories. In addition, these stories are being tole by means of temporary exhibitions (which carry their own time limitations), and recorded by incomplete and frequently even incomprehensible documentation. The exhibtion catalog for a curatorial project that already presents a double abuse can only produce a further abuse. Images don't merge into the clearing of Being on their own accord, where their original visibility is then muddied by the "arr business," as Heidegger describes it in The Origin of the Worf of Art. It is far more than this very abuse makes them visible.(51-52)引自 On the Curatorship
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, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of mo...
2018-10-18 05:12:501人喜欢
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, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of modern art is not a pluralistic fi eld but a f i eld strictly structured according to the logic of contradiction . It is a fi eld where every thesis is supposed to be confronted with its antithesis. 引自 IntroductionAlready Malevich said that he was struggling against the sincerity of the artist. And Broodthaers said—when he started to do art—that he wanted to do something insincere. To be insincere means in this context to make art beyond all taste—even beyond one’s own taste. 引自 IntroductionBut the artistic embodiment of self-contradiction, of paradox, began to be especially practiced in contemporary art after World War II. At this point we are confronted with paintings that could be described as both realistic and abstract at the same time (Gerhard Richter), or objects that can be described as both traditional sculptures and as readymades at the same time (Fischli/Weiss), to mention just a few examples.引自 IntroductionBeing one-sided and aggressive is, of course, at least as modern as being moderate and seeking to maintain the balance of power. 引自 Introduction
Art functions as commodity or political propaganda? he devides it into two categories.
After the end of World War II and especially after the change of regime in the former Socialist Eastern European countries, the commercial system of art production and distribution dominated the political system. The notion of art became almost synonymous with the notion of the art market, so that the art produced under the nonmarket conditions was de facto excluded from the fi eld of institutionally recognized art. 引自 Introduction
the city per se possesses an intrinsically utopian dimension by virtue or being situated outside the natural order. p101 The quest for utopia forces the city into a permanent process of surpassing and destroying itself.p101 Today, when we cease to be satisfied with the life that is offered to us in our own city, we no longer strive to change, revolutionaize, or rebuild it; instead, we simply mo...
2019-04-18 10:09:20
the city per se possesses an intrinsically utopian dimension by virtue or being situated outside the natural order. p101
The quest for utopia forces the city into a permanent process of surpassing and destroying itself.p101
Today, when we cease to be satisfied with the life that is offered to us in our own city, we no longer strive to change, revolutionaize, or rebuild it; instead, we simply move to another city. p102引自 The age of Tourist Reproduction
Romantic tourist
The romantic tourist is not in search of universal utopian models but of cultural differences and local identities. His gaze directed not at the future but at past provenance.p113
The touristic gaze romanticizes, monumentalizes, and ternalizes everything that comes within its range. In turn, the city adapts to this materialized topia, to the medusan gaze of the romantic tourist. p103
It was tourism that created these monuments. It is tourism that monumentalizes a city.p103
...The residents sense the need to assimilate the globalized gaze pointed at them and to adjust their own way of life to the aesthetic predilections of their visitors. p105引自 The age of Tourist Reproduction
Post-romantic tourism
Rather than the individual romantic tourist, it is instead all manner of people, things, signs, and images drawn from all kinds of local cultures that are now leaving their places of origin and undertaking journeys around the world. p105
Cities are no longer waiting for the arrival of the toursit --they too are starting to join global circulation.p105引自 The age of Tourist Reproduction
World City
all cities now increasingly resemble one another and are beginning to homogenize, with the result that when a tourist arrives in a new city he ends up seeing the same things he encountered in all the other cities. p105
...much of what one witnesses there as "authentically Chinese" has long been familiar to visitors from America or Europe, where such Chinese attributes can be found in any town or city. p106
This world city operates like a reproductive machine that relatively swiftly multiplies any local attribute of one particular city in all other cities around the world. p106引自 The age of Tourist Reproduction
Art in the age of Tourist Reproduction
We are now prepared to be attracted and persuaded particularly by artistic strategies capable of producing art that achieves the same degree of success regardless of the cultural context and conditions in which it is viewed. p107
What especially impresses us about all things, customs, and practices is their capacity for reproduction, dissemination, self-preservation, and survival under the most diverse local conditions. p107
As a consequence of total tourism we are now witnessing the emergence of a homogeneity bereft of all universality, an utterly new and up-to-date development. p108引自 The age of Tourist Reproduction
The curator may exhibit, but he doesn't have the magical abilitity to transform nonart into art through the act of display. That power, according to current cultural conventions, belongs to the artist alone.(43) The question is then, why have curators lost the power to create art through the act of its exhibition, and why has this power passed over to artists? The answer is obvious : In exhibti...
2018-10-21 16:03:231人喜欢
The curator may exhibit, but he doesn't have the magical abilitity to transform nonart into art through the act of display. That power, according to current cultural conventions, belongs to the artist alone.(43)引自 On the CuratorshipThe question is then, why have curators lost the power to create art through the act of its exhibition, and why has this power passed over to artists? The answer is obvious : In exhibting a urinal, Duchamp does not devalue a sacred icon, as the museum curators had done; he rather upgrades a mass-produced objcet to an artwork.(44)引自 On the CuratorshipOver the yearsmodern 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 the troy is that of a triumph of this image, its transfiguration, or its glorification. Acoording to tradition of modern art, an image must speak for itself; it must immediately convince the spectator, standing in sllent contemplation, of its own value. The conditions in which the work is exhibited should be reduced to white walls and good lighting. Theoretical and narrative discourse is a distraction, and must stop. Even affirmative discourse and favorable display were regarded as distoring the message of the artwork itself. As a result : Even after Duchamp the act of exhibiting any object as an artwork remained ambivalent, that is, partially iconophile, partially iconoclastic.(44-45)引自 On the CuratorshipA work of art cannot in fact present itself by virtue of its own definition and force the viewer into contemplation; it lacks the necessary vitality, energy, and health. Artworks seem to be genuinely sick and helpless - the spectator has to be led to the artwork, as hospital workers might take a visitor to see a bedridden patient. It is in fact no coincidence that the word "curator" is etymologically related to "cure". Curating is curing.(46)引自 On the CuratorshipThe art work needs external help, it needs an exhibition and curator to become visible.(46)引自 On the CuratorshipBy placing an artwork in a controlled environment, in the context of other carefully chosen objects, and above all involving it in a specific narrative, the curator is making an iconoclastic gesture.(47)
We see artworks as incarnating art. The famous distinction between art and non-art is generally understood as a distinction between objects inhabited and animated by art and those from which art is absent. This is how works of art become art's idols, that is analogously to religious images, which are also believed to be inhabited or animated by gods.(49)引自 On the CuratorshipSuch documentation, however, merely refers to art without itself being art. This type of documentation is often presented in the framework of an art installation for the purpose of narrating a certain project or action. Instead they become documents, illustrations of the story told by the installation. One could say that today's art audience increasingly encounters art documentation, which provides information about the aertwork itself, be it art project or art cation, but which in doing so only confirms the absence of the artwork.(49)引自 On the CuratorshipOn the one hand, images in the museum are aestheticized and transformed into art; on the other, they are downgraded to illustrations of art history and therby dispossessed of their art status.(51)引自 On the CuratorshipThis double abuse of images, this doubled iconoclastic gesture, is only recently being made explicit, because instead of narrating the canon of art history, independent curators are beginning to tell each otehr their own contradictory stories. In addition, these stories are being tole by means of temporary exhibitions (which carry their own time limitations), and recorded by incomplete and frequently even incomprehensible documentation. The exhibtion catalog for a curatorial project that already presents a double abuse can only produce a further abuse. Images don't merge into the clearing of Being on their own accord, where their original visibility is then muddied by the "arr business," as Heidegger describes it in The Origin of the Worf of Art. It is far more than this very abuse makes them visible.(51-52)引自 On the Curatorship
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, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of mo...
2018-10-18 05:12:501人喜欢
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, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of modern art is not a pluralistic fi eld but a f i eld strictly structured according to the logic of contradiction . It is a fi eld where every thesis is supposed to be confronted with its antithesis. 引自 IntroductionAlready Malevich said that he was struggling against the sincerity of the artist. And Broodthaers said—when he started to do art—that he wanted to do something insincere. To be insincere means in this context to make art beyond all taste—even beyond one’s own taste. 引自 IntroductionBut the artistic embodiment of self-contradiction, of paradox, began to be especially practiced in contemporary art after World War II. At this point we are confronted with paintings that could be described as both realistic and abstract at the same time (Gerhard Richter), or objects that can be described as both traditional sculptures and as readymades at the same time (Fischli/Weiss), to mention just a few examples.引自 IntroductionBeing one-sided and aggressive is, of course, at least as modern as being moderate and seeking to maintain the balance of power. 引自 Introduction
Art functions as commodity or political propaganda? he devides it into two categories.
After the end of World War II and especially after the change of regime in the former Socialist Eastern European countries, the commercial system of art production and distribution dominated the political system. The notion of art became almost synonymous with the notion of the art market, so that the art produced under the nonmarket conditions was de facto excluded from the fi eld of institutionally recognized art. 引自 Introduction
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The curator may exhibit, but he doesn't have the magical abilitity to transform nonart into art through the act of display. That power, according to current cultural conventions, belongs to the artist alone.(43) The question is then, why have curators lost the power to create art through the act of its exhibition, and why has this power passed over to artists? The answer is obvious : In exhibti...
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讲真，Groys态度之暧昧实在让人摸不着头脑，其在此书中为美术馆辩护等一系列言论根本无法放在当下环境之中仔细推敲。不过也可能正如他开篇所述的那样，他也是在为维持当代艺术的平衡，让两方言论势均力敌？
0 有用 抑之羊 2022-02-27 13:14:28
@2021-04-04 17:18:58
0 有用 Natasha 2021-10-16 06:24:42
“In our culture, we have two different models that allow us to gain control over time: The immobilization of the image in the museum, and the immobilization of the audience in the movie theater. Both ... “In our culture, we have two different models that allow us to gain control over time: The immobilization of the image in the museum, and the immobilization of the audience in the movie theater. Both models, however, fail when moving images are transferred into the space of a museum.” 哈哈哈哈哈反正要一个不能动就行！ (展开)
0 有用 田野星人 2021-05-04 22:53:10
生命政治时代的艺术档案化转向一章
0 有用 木容日生 2021-02-18 16:12:01
好读 有趣 第二部分不太喜欢
0 有用 ἔκστασις 2019-03-06 09:25:15
前一半比较好看 值得再读