Boris Groys - Böcker

The public generally regards the media with suspicion and distrust. Therefore, the media's primary concern is to regain that trust through the production of sincerity. Advancing the field of media studies in a truly innovative way, Boris Groys focuses on the media's affect of sincerity and its manufacture of trust to appease skeptics. Groys identifies forms of media sincerity and its effect on politics, culture, society, and conceptions of the self. He relies on different philosophical writings thematizing the gaze of the other, from the theories of Heidegger, Sartre, Mauss, and Bataille to the poststructuralist formulations of Lacan and Derrida. He also considers media "states of exception" and their creation of effects of sincerity-a strategy that feeds the media's predilection for the extraordinary and the sensational, further fueling the public's suspicions. Emphasizing the media's production of emotion over the presentation (or lack thereof) of "facts," Groys launches a timely study boldly challenging the presumed authenticity of the media's worldview.

This new survey covers the rich and varied history of participatory art, from early happenings and performances to current practices that demand audience interaction. As the internet mindset – browsing, sharing, collecting, producing – increasingly permeates every aspect of society, this timely project reveals the ways in which artists and viewers have approached the creation of open works of art. Original essays identify seminal moments in participatory practice from the 1950s to the present day, while a rich array of plates reproduces the work of the movement’s major figures in vivid detail.

Jeff Wall (b.1946) adopts the nineteenth-century poet Baudelaire's famous description of one of his contemporaries as 'a painter of modern life' to describe his own very different work: huge transparencies mounted on to light boxes that diffuse a brilliant glow of white light evenly through his photographs of contemporary urban scenes and 'constructed' social situations.Wall is foremost among the pioneering artists who since the late 1960s have brought photography to the forefront of contemporary art. His constructed images employ the latest sophisticated technology in the creation of compelling tableaux, which are evocative of subjects ranging from Hollywood cinema to nineteenth-century history painting. When exhibited in their glowing light boxes they evoke both the seduction of the cinema screen and the physical presence of minimalist sculptures such as Dan Flavin's fluorescent light installations or Donald Judd's metal and Perspex wall reliefs. All of these elements - traditional figurative painting, cinema, Minimalism, Conceptual art, documentary photography - are consciously evoked and explored in Wall's work. Associated closely since the late 1960s with Conceptual artists such as Dan Graham, with whom he collaborated on The Children's Pavilion (1988-93), Wall has engaged at a sophisticated level with theories of representation and its social dimensions both as an artist and as a theoretical writer on contemporary art and culture.

To the philosopher Boris Groys, everything technology produces in the modern world ultimately falls into two categories – it’s art, or it's garbage. Both are useless, defunctionalized objects that simply lie there. The difference between them comes when we immunize art from the destructive power of time to which we devoutly deliver our garbage.In this collection of essays and interviews, Groys expounds on these paradoxes, taking in art, the dialectic of work, the afterlife, politics, utopia, philosophy, faith, revolution, the avant-garde and digitalization. His philosophical writings critique the political economy of heterotopia, whereas his writings on art concern the things of the afterlife: only the politics of immortality promises salvation from the garbage pit. Groys sees the history of class struggle as a history of aestheticization - defined by the forms spectators recognize as valuable enough to preserve, which they will fight to the death to preserve from disappearance and nonexistence. Western civilization's tendency to aestheticize politicizes everything. If we can design ourselves as artworks worthy of admiration and care, then can we too survive the ravages of time?Bringing together previously unpublished texts, newly translated work and interviews, this is a coruscating trip through the complex and challenging philosophical and cultural problems that Boris Groys has made it his life's work to deal with.

To the philosopher Boris Groys, everything technology produces in the modern world ultimately falls into two categories – it’s art, or it's garbage. Both are useless, defunctionalized objects that simply lie there. The difference between them comes when we immunize art from the destructive power of time to which we devoutly deliver our garbage.In this collection of essays and interviews, Groys expounds on these paradoxes, taking in art, the dialectic of work, the afterlife, politics, utopia, philosophy, faith, revolution, the avant-garde and digitalization. His philosophical writings critique the political economy of heterotopia, whereas his writings on art concern the things of the afterlife: only the politics of immortality promises salvation from the garbage pit. Groys sees the history of class struggle as a history of aestheticization - defined by the forms spectators recognize as valuable enough to preserve, which they will fight to the death to preserve from disappearance and nonexistence. Western civilization's tendency to aestheticize politicizes everything. If we can design ourselves as artworks worthy of admiration and care, then can we too survive the ravages of time?Bringing together previously unpublished texts, newly translated work and interviews, this is a coruscating trip through the complex and challenging philosophical and cultural problems that Boris Groys has made it his life's work to deal with.

Modern history is a history of aesthetizations – and every aesthetization raises a claim of protection. We aestheticize and want to protect almost everything, including Earth, oceans, the atmosphere, rare animal species and exotic plants. Humans are no exception. They also present themselves as objects of contemplation that deserve admiration and care. For some time, artists and intellectuals struggled for the sovereign right to present themselves to society in their own way – to become self-created works of art. Today everybody has not only a right but also an obligation to practice self-design. We are responsible for the way we present ourselves to others – and we cannot get rid of this aesthetic responsibility.However, we are not able to produce our own bodies. Before we begin to practice self-design, we find ourselves already designed by the gaze of others. That is why the practice of self-design mostly takes a critical and confrontational turn. We want to bring others to see us in the way we want to be seen – not only during our earthly life but also after our death. This is a complicated struggle, and the aim of this book is to describe and analyze it.

Modern history is a history of aesthetizations – and every aesthetization raises a claim of protection. We aestheticize and want to protect almost everything, including Earth, oceans, the atmosphere, rare animal species and exotic plants. Humans are no exception. They also present themselves as objects of contemplation that deserve admiration and care. For some time, artists and intellectuals struggled for the sovereign right to present themselves to society in their own way – to become self-created works of art. Today everybody has not only a right but also an obligation to practice self-design. We are responsible for the way we present ourselves to others – and we cannot get rid of this aesthetic responsibility.However, we are not able to produce our own bodies. Before we begin to practice self-design, we find ourselves already designed by the gaze of others. That is why the practice of self-design mostly takes a critical and confrontational turn. We want to bring others to see us in the way we want to be seen – not only during our earthly life but also after our death. This is a complicated struggle, and the aim of this book is to describe and analyze it.

On the New looks at the economies of exchange and valuation that drive modern culture's key sites: the intellectual marketplace and the archive. As ideas move from one context to another, newness is created. This continuous shifting of the line that separates the valuable from the worthless, culture from profanity, is at the center of Boris Groys's investigation which aims to map the uncharted territory of what constitutes artistic innovation and what processes underpin its recognition and appropriation.

In the early 20th century, art and its institutions came under critique from a new democratic and egalitarian spirit. In an age of secularism and materialism, artworks would be understood as merely things among other things. This meant an attack on the techniques of realism, and the traditional mission of the museum, both designed shield a small class of objects from the entropic fate awaiting everything else-and the development of an approach that Boris Groys calls "direct realism": an art that would not produce objects, but practices that could enter the flow of time to live and die like the rest of us. But for more than a century now, every advance in this direction has been quickly followed by new means of preserving art's distinction. In this major new work, Groys, one of the world's leading art theorists, charts the paradoxes produced by this tension, which continues to structure the production and reception of new art. The internet, the latest medium through which artists have attempted to disavow this special status, inverts the most notorious consequence of early modernist developments. If the techniques of mechanical reproduction gave us objects without aura, digital production generates aura without objects, transforming all its materials into vanishing markers of the transitory present.

A TLS Book of the Year 2017In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country’s most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region’s contemporary art, culture and and theory.With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.

In this intellectual biography, critic and philosopher Boris Groys turns to the Arthur Rimbaud of modern bureaucracy, Alexandre Kojève, a philosopher of little-known writings and profound influence. Kojève was fascinated with Hegel's dialectics and with communism and envisioned a universal empire as the end of history. Kojève drew on Buddhism and also proclaimed himself a Stalinist. At the same time, he was one of the creators of a nascent European Union. His concept of the human as something defined by negation and unique among animals in being separated from nature is highly political. It explains why humans can never be fully satisfied by a political system based on their allegedly 'natural' rights.Groys reveals a Kojève with a unique perspective on our political capacities and human condition.

Our current culture is dominated by the ideology of creativity. One is supposed to create the new and not to care about the things as they are. This ideology legitimises the domination of the "creative class" over the rest of the population that is predominantly occupied by forms of care - medical care, child care, agriculture, industrial maintenance and so on. We have a responsibility to care for our own bodies, but here again our culture tends to thematize the bodies of desire and to ignore the bodies of care - ill bodies in need of self-care and social care. But the discussion of care has a long philosophical tradition. The book retraces some episodes of this tradition - beginning with Plato and ending with Alexander Bogdanov through Hegel, Heidegger, Bataille and many others. The central question discussed is: who should be the subject of care? Should I care for myself or trust the others, the system, the institutions? Here, the concept of the self-care becomes a revolutionary principle that confronts the individual with the dominating mechanisms of control.

Since Plato, philosophers have dreamed of establishing a rational state ruled through the power of language. In this radical and disturbing account of Soviet philosophy, Boris Groys argues that communism shares that dream and is best understood as an attempt to replace financial with linguistic bonds as the cement uniting society. The transformative power of language, the medium of equality, is the key to any new communist revolution.

From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists' goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.

Philosophy is traditionally understood as the search for universal truths, and philosophers are supposed to transmit those truths beyond the limits of their own culture. But, today, we have become sceptical about the ability of an individual philosopher to engage in 'universal thinking', so philosophy seems to capitulate in the face of cultural relativism.In Introduction to Antiphilosophy, Boris Groys argues that modern 'antiphilosophy' does not pursue the universality of thought as its goal but proposes in its place the universality of life, material forces, social practices, passions, and experiences - angst, vitality, ecstasy, the gift, revolution, laughter or 'profane illumination' - and he analyses this shift from thought to life and action in the work of thinkers from Kierkegaard to Derrida, from Nietzsche to Benjamin.Ranging across the history of modern thought, Introduction to Antiphilosophy endeavours to liberate philosophy from the stereotypes that hinder its development.