Mudal More important the installation is in itself, as it was already said, a space of decision making — and first of grots of decisions concerning the differentiation between old and new, traditional and innovative. You are commenting using your WordPress. Is it enough that the public simply goes by the assumption that an original exists somewhere, hidden away and protected, unless its aforementioned destruction does take place and is purposely made known? That shows very clearly that a film is radically, essentially changed by being put under the conditions of an installation visit — being a same copy the film becomes a different original. By adt to use this website, you agree to their use.
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Gataxe The central notion of Modern art was the notion of creativity. And that means that we have no outside position in relationship ggoys the installation practice. The traditional art media are all defined by a specific material support for the medium: The contemporary artistic installation has a goal to present the scene, the context, the strategy of this differentiation as it contemporray place here and now — that is why it can be called genuinely contemporary, indeed.
The iconoclastic and the new can only be recognized by the art historically informed, museum-trained gaze. The contrary is the case.
By continuing to use this website, you agree to their use. Thus, the differentiation between old and new, repetitive and original, conservative and progressive, traditional and liberal is not just a differentiation among many others. There are no eternal copies as there are no eternal originals. The film spectator is not anymore immobilised, bound to a seat and left in the darkness — being supposed to watch a movie from its beginning to its end.
I really need more clarification I suppose before discussion. In both cases the context decides about the newness — and in both cases we cannot rely on an established, institutional context but have to create something like a theological or artistic installation that would allow us to take a decision and to articulate it.
It remains maybe the same copy — but it becomes different originals. A reauratisation of an individual artwork would aet a sacralisation of the whole profane space of topologically undetermined mass circulation of a copy — which would be a totalitarian, fascist project. But how can an individual artist prove that he or she is really, genuinely creative? The Topology of Contemporary Art: Boris Groys alfredcrucible That is, it emerges precisely at the very moment it is getting lost.
Because an installation is purely in the present — a product of the here and now — each installation is a different context which cannot be compared. Contemporary art is working on the level of context, framework, background, or of a new theoretical interpretation. In this regard, who is the authority determining original vs. And this kind of reproduction infects the creative act from the beginning.
The installation demonstrates a certain selection, a certain chain of choices, a certain logic of inclusions and exclusions. Is it enough that the public simply goes by the assumption that an original exists somewhere, hidden away and protected, unless its aforementioned destruction does take place and is purposely made known? The installation thus demonstrates the material hardware of civilization that would otherwise go unnoticed behind the surface of image circulation in the ccontemporary media.
Modern art was working on the level of an individual form. The recognition of this inner repetitiveness of the Modern project contemporayr to a redefinition of this project during the recent decades and to a post-modern thematization of the problematics of repetition, iteration, reproduction. A creative act if it is understood as an iconoclastic gesture presupposes a permanent reproduction of the context in which this act is effectuated.
Are we dealing all the time with the same film footage? Why, or why not? Further, this implies for Kierkegaard that Christ is really new and not merely recognizably different-and that Christianity is a manifestation of difference beyond difference. Every change of context, borus change of medium can be interpreted as fo negation of a status of a copy as a copy — as an essential rupture, as a new start that open a new future.
Notify me of new comments conyemporary email. According to Benjamin, in our age the artwork leaves its original context and begins to circulate anonymously in the networks of mass communication, reproduction and distribution. Obviously, an artist can show it only by demonstrating how far he or she has gone along the way of reduction and destruction of the traditional image, how radical, how iconoclastic his or her work is.
The Topology of Contemporary Art: Boris Groys This paradox arises because a postmodern artwork presents itself as merely an example of an infinite sequence of reproductions and repetitions. In contrast to Modernism, the post-modern project recognizes the transformative nature of time and space, while utilizing mechanical and technological reproduction to re-contextualize objects. In fact, the aura, as described by Benjamin, only comes into being thanks to the modern technique cntemporary reproduction.
Quite on the contrary, these images and objects manifest — mostly in a very obvious topologt — their status as copies, as reproductions, as repetitions. An by doing so an installation manifests here and groyx certain decisions about what is old and what is new, what is an original and what is a copy.
Reproduction is as much infected by originality as originality is infected by reproduction. The mere fact that a modernist artwork is still recognizable as an artwork means namely that this voris reproduces the general conditions of recognizability of an artwork as artwork — even if a form of this artwork seems to be quite original. Lives in Koeln, Germany. This is why, paradoxically, the more you want to free yourself from the art tradition, the more you become subjected to the logic of the art historical narrative and to museum collecting.
And it is born precisely for the same reason it is lost. Related Posts
The Topology of Contemporary Art: Boris Groys
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BORIS GROYS TOPOLOGY OF CONTEMPORARY ART PDF
Zolorg The mere fact that a modernist artwork is still recognizable as an artwork means namely that this artwork reproduces the general conditions of recognizability of an artwork as artwork — even if a form of xontemporary artwork seems to be quite original. The practice of the historical avant-garde was based on the equation that was already formulated by Bakunin, Stirner and Nietzsche: Thus notions of originality or newness are irrelevant. Under this presupposition, to lose its unique, original context means for an artwork to lose its aura forever — and to become a copy of itself. In the 19th Century Soeren Kierkegaard discussed the difference of old and new using as an example the figure of Jesus Christ. They are here and now — and they are thoroughly visible, given, unconcealed. I think the question of aura is an interesting one that will most certainly be discussed at length and the topic of aura in craft products is an interesting one.
Gataxe The central notion of Modern art was the notion of creativity. And that means that we have no outside position in relationship ggoys the installation practice. The traditional art media are all defined by a specific material support for the medium: The contemporary artistic installation has a goal to present the scene, the context, the strategy of this differentiation as it contemporray place here and now — that is why it can be called genuinely contemporary, indeed. The iconoclastic and the new can only be recognized by the art historically informed, museum-trained gaze.
Philosopher, art theorist. Lives in Koeln, Germany. Today, the term "contemporary art" does not simply designate art that is produced in our time. In this respect contemporary art is different from Modern art that was directed toward the future and it is different also from post-modern art that was a historical reflection on the Modern project. The contemporary "contemporary art" privileges the present in respect to the future and to the past. So to rightly characterize the nature of contemporary art it seems to be necessary to situate it in its relationship to the Modern project and to its post-modern reevaluation.