1,721,365 research outputs found
Boris Groys, In the Flow
Full text linkL’ouvrage In the flow est une rhéologie, science des écoulements et des modifications de la matière, appliquée à l’art. Pour son auteur Boris Groys, le solide et le fluide sont des notions dichotomiques qui différencient l’art contemporain de l’art traditionnel. Ainsi, contrairement aux œuvres traditionnelles, artefacts matériels immobiles, les œuvres contemporaines sont le produit dématérialisé d’informations et d’évènements. Diffusées à grande échelle, grâce aux nouveaux outils que sont int..
Between Stalin and Dionysus: Bakhtin's Theory of the Carnival
Full text linkThe essay by Russian American philologist Boris Groys and nine commentaries followed by Groys’ reply to them in this special issue: “Deconstructing Bakhtin, Carnival with Evil”, present a provocative discussion about Bakhtin’s conceptual work and legacy for education and beyond. Boris Groys argued that Bakhtin embraced a dangerous play with Stalin’s totalitarianism through fusing art and life, prioritizing cosmic carnival over human rights and by being mesmerised by dionysian passions. The following nine commentaries, written by educationalists and non-educationalists, present a diverse spectrum of reactions to Groys’ criticism of Bakhtin: from passionate rejections to sympathetic acceptance seriously considering implications of Groys’ charges. The biggest implication for education is the relationship between the teacher and the student, specifically whether the teacher authors the student and the student’s education or not. The first commentary, written by Caryl Emerson provides a brilliant overview of all these diverse positions, in education and beyond. – DPJ Editors: Eugene Matusov and Ana Marjanovic-Shan
Boris Groys, Vittorio Hösle. Die Vernunft an die Macht. Ein Streitgespräch
No full textMit dem Kommunismus ist ein politisches Modell gescheitert, das konsequent auf die vernünftige Planung von Wirtschaft und Gesellschaft setzte. Die Jahrzehnte währenden Erfahrungen mit dieser »Vernunft an der Macht« haben das Vertrauen in die Macht der Vernunft ein weiteres Mal erschüttert. Allerdings ist mittlerweile deutlich geworden, dass der Rückzug staatlichen Einflusses und der Verzicht auf rationale Planung einem destruktiven Spiel der Marktkräfte und postdemokratischen Tendenzen die Bühne überlassen.
Mit Boris Groys und Vittorio Hösle trafen in der HfG Karlsruhe zwei Philosophen aufeinander, die in ihrer Gegensätzlichkeit und gleichzeitigen Nähe ideale Protagonisten der vom ICI Berlin organisierten Reihe »Spannungsübungen« waren. Ausgehend von der politischen Situation der Gegenwart entwickelte sich eine grundsätzliche Debatte über Macht und Ohnmacht der Vernunft in der Moderne. Das in zauberbergartiger Eleganz ausgetragene Streitgespräch verliert auch in der gedruckten Form nichts von seiner Faszination
The Future of the New. An interview with Boris Groys
No full textBoris Groys (1947) is a philosopher, art critic and curator. He studied in Leningrad and Moscow, and did his PhD in Münster. He lectured in Vienna and Karlsruhe, and since 2005 is Global Distinguished Professor in the Faculty of Arts and Science, New York University. He published numerous books, including The Total Art of Stalinism (1992), Art Power (2008), Introduction to Antiphilosophy (2012), and In the Flow (2016).Boris Groys (1947) is a philosopher, art critic and curator. He studied in Leningrad and Moscow, and did his PhD in Münster. He lectured in Vienna and Karlsruhe, and since 2005 is Global Distinguished Professor in the Faculty of Arts and Science, New York University. He published numerous books, including The Total Art of Stalinism (1992), Art Power (2008), Introduction to Antiphilosophy (2012), and In the Flow (2016)
Gesamtkunstwerk. Contemporary Art and Media Culture in Boris Groys
Full text linkEste artículo se propone abordar las relaciones entre cultura mediática y arte contemporáneo en la obra teórica y crítica de Boris Groys poniendo especial énfasis en la idea wagneriana de obra de arte total retomada por el autor. Para ello, a partir de una breve descripción de obra de arte, se introduce una descripción de la categoría y el uso que le da Groys para analizar la cultura del stalinismo, las formas del arte contemporáneo y sus relaciones con la cultura mediática en la actualidad.This article aims to address the relationship between media culture and contemporary art in the theoretical and critical work of Boris Groys, placing special emphasis on the Wagnerian idea of total work of art taken up by the author. For this, from a brief description of work of art, we present a description of the category and use given by Groys to analyze the culture of Stalinism, the forms of contemporary art and their relationship with media culture today.Facultad de Bellas Arte
Boris Groys. Politique de l’immortalité : quatre entretiens avec Thomas Knoefel
Full text linkBoris Groys est actuellement le philosophe de langue allemande le plus lu dans les milieux artistiques germanophones et anglo-saxons. Cette parution est d’autant plus importante qu’il s’agit de la première traduction française d’un livre de Groys depuis Staline : œuvre d’art totale (Nîmes : Jacqueline Chambon, 1990) et Du Nouveau : essai d’économie culturelle (Nîmes : Jacqueline Chambon, 1995). Les quatre entretiens réalisés ici avec Thomas Knoefel eurent lieu de 1995 à 2001 et approfondissen..
The Border between Word and Image
No full text Proceeding from Lessing’s distinction between poetry and visual art, Boris Groys argues that language is not external to, but resides behind, the image. The image constitutes the scene of a frustrated linguistic desire. Modern visual art sought to avoid the obscenity of staging this unfulfilled desire by conducting a systematic ascetic repression of the linguistic impulse. This negation of linguistic desire culminated in Judd’s ‘specific ob jects’. Y et the modern image, Groys emphasizes with reference to Greenberg and McLuhan, still transmits a message, namely that of its medium bearer. Modern artists torture the image and put it into a state of emergency or exception in which it confesses its interior. In the image’s sub-medium space, in turn, resides language. Avantgarde artists and modern media theorists share the wish to achieve durability by becoming the media of the media. The border between the image and language, Groys closes, can neither be stabilized nor abolished. </jats:p
The Communism according to Boris Groys
No full textBoris Groys’ suggestion is that after the historical experience of the Soviet Union and the passage to the market economy in China, the communism goes back to the state of theory. Such theoretical communism is not a theory of the communism though, nor a resumption and reinterpretation of the great theoretical apparatuses of the communism. It is instead a theory melted from the facts, literally ab-solute: not because the facts are “idealistically” resolved into the concept, but simply because they are “already happened”. In the scene of the posthistoire the communism reveals its ancient linguistic nature: its task is to preside to the concert of the contradictions. The communism is the common house of the contradictions, where the contradictions coexist all together; and in this sense, it is also the last theory of peac
The Communism according to Boris Groys
No full textBoris Groys’ suggestion is that after the historical experience of the Soviet Union and the passage to the market economy in China, the communism goes back to the state of theory. Such theoretical communism is not a theory of the communism though, nor a resumption and reinterpretation of the great theoretical apparatuses of the communism. It is instead a theory melted from the facts, literally ab-solute: not because the facts are “idealistically” resolved into the concept, but simply because they are “already happened”. In the scene of the posthistoire the communism reveals its ancient linguistic nature: its task is to preside to the concert of the contradictions. The communism is the common house of the contradictions, where the contradictions coexist all together; and in this sense, it is also the last theory of peac
Boris Groys: Logic of the Collection [Book review]
No full textThis book compiles previously published essays by Boris Groys
concerning art collections. The first part initially appeared in 1997 as a book entitled Logik der Sammlung: Am Ende der musealen Zeitalters (The Logic of the Collection: At the End of the Museum Age), and its essays have never previously been translated. The second part consists of more recent essays by the theorist. As is inevitably the case with a book of essays which have not been significantly reworked (but instead are simply, as it were, collected), the book does not elaborate a coherent argument from start to finish, yet the first three essays form a satisfying trajectory
- …
