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.
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.
發表於2024-11-22
Art Power 2024 pdf epub mobi 電子書 下載
Heinz-Norbert Jocks:我們上次的見麵是在威尼斯雙年展的俄羅斯館,當時您剛從英國導演Ben Lewis那裏迴到您所策展的現場,接受我們的訪談。您現在在上海,請問是如何看待您作為協同策展人的角色? Boris Groys: 我的角色是一個共同塑造者,部分可能也是顧問,對話者和至少是一...
評分《藝術力》 前言 作者:鮑裏斯·格洛伊斯 譯者:杜可柯 讀過大部分有關現當代藝術的論述後,我們得到的第一條教訓是:現代藝術(在更大程度上)和當代藝術都特彆多元化。在這一事實之下,我們就不可能把現代藝術當做一個具體現象來寫,不可能把現代藝術寫成是幾代藝術傢、策展...
評分Heinz-Norbert Jocks:我們上次的見麵是在威尼斯雙年展的俄羅斯館,當時您剛從英國導演Ben Lewis那裏迴到您所策展的現場,接受我們的訪談。您現在在上海,請問是如何看待您作為協同策展人的角色? Boris Groys: 我的角色是一個共同塑造者,部分可能也是顧問,對話者和至少是一...
評分Heinz-Norbert Jocks:我們上次的見麵是在威尼斯雙年展的俄羅斯館,當時您剛從英國導演Ben Lewis那裏迴到您所策展的現場,接受我們的訪談。您現在在上海,請問是如何看待您作為協同策展人的角色? Boris Groys: 我的角色是一個共同塑造者,部分可能也是顧問,對話者和至少是一...
評分《藝術力》 前言 作者:鮑裏斯·格洛伊斯 譯者:杜可柯 讀過大部分有關現當代藝術的論述後,我們得到的第一條教訓是:現代藝術(在更大程度上)和當代藝術都特彆多元化。在這一事實之下,我們就不可能把現代藝術當做一個具體現象來寫,不可能把現代藝術寫成是幾代藝術傢、策展...
圖書標籤: 藝術理論 藝術 Boris_Gryos 哲學 鮑裏斯格羅伊斯 格羅伊斯 藝術(史)研究 BorisGryos
一半藝術作為商品, 一半藝術作為政治宣傳工具。讀多瞭民族誌再跳齣來讀這些critic,居然對所謂理論有瞭一種耳目一新的感覺。特彆喜歡前半部分,curationship/mutiple authorship/image&digitalization/Iconoclasm這幾個選題有一種break the walls的感覺。最愛Art in the Age of Biopolitics: From Artwork to Art Documentation這一篇,尤其在寫瞭一學期的福柯之後。後半部分就是他擅長的ideology and art,依舊有很多USSR/Russia的例子
評分有時候,格羅伊斯的立場未免曖昧,不容易捕捉。
評分感覺沒有走嚮公眾好看,不過有些觀點依然很有意思
評分propaganda黃金reference
評分對藝術市場的獨到見解和對political art的批判
Art Power 2024 pdf epub mobi 電子書 下載