Boris Groys
Biographic Data
| ID | 364053 |
|---|---|
| NAME | Boris Groys |
| GIVEN NAMES | Boris |
| FAMILY NAME | Groys |
| SIGNATURE | GROYS B |
| AFFILIATIONS | New York University |
| VERIFIED | No |
| TOTAL WORKS | 31 |
| TOTAL CITATIONS | 7 |
| AUTHOR COUNT | 31 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1970 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 2 |
Os outros e os mesmos
Este ensaio de Boris Groys, publicado em 2024 na revista online e-flux, analisa as mudanças históricas no entendimento de identidade e comunidade. Com o estabelecimento de uma “naturalização” do humano, que deslocou da alma para o corpo o foco do que nos define, novas formas de comunidade emergem, enquanto as formas antigas são rompidas de novas maneiras. Groys reflete sobre a pulsão humana tanto de dissolver o self em meio ao grupo quanto de que…
O Estádio do Espelho das Elites
What is Radical
What does it mean to think and act radically, and how does this relate to forms of radicalism connected to earlier moments, for example, in the 20th century? What can be the role of radical art and scholarship under the conditions of late capitalism? More generally, how can art and artists serve the ongoing struggle for social justice and the agendas of emancipatory social change? Finally, what kinds of art criticism and art historical scholarshi…
O destino da arte na era do terror
Art Power
Słaby uniwersalizm
Niniejszy esej podejmuje temat zadania awangardy i formułuje je jako rozwinięcie Benjaminowskiego słabego mesjanizmu, jako „słaby uniwersalizm” – budowanie demokratycznej sztuki. Między twórczością Malewicza, Beuysa, Warhola czy twórców nowych mediów istnieje pewne podobieństwo, polegające na dążeniu do dzieła transhistorycznego, zawierającego warunki możliwości wszystkich dzieł, również czytelnego dla jak największej publiczności. Podstawą przek…
Hurting the Feelings of Others
The phenomenon of self-censorship is even more widespread than the censorship itself. The most immediate reason for self-censorship practiced by authors is the simple fact that these authors are afraid of the unpleasant consequences of what they are writing, painting, or otherwise communicating. This is true especially for authors living under authoritarian regimes. However, more interesting are the cases when people practice self-censorship beca…
Ciudad del arte. Volverse público. Las transformaciones del arte en el ágora contemporánea
Transition in Post-Soviet Art
The artistic tradition that emerged as a form of cultural resistance in the 1970s changed during the transition from socialism to capitalism. This volume presents the evolution of the Moscow-based conceptual artist group called Collective Actions, proposing it as a case-study for understanding the transformations that took place in Eastern European art after the fall of the Berlin Wall. Esanu introduces Moscow Conceptualism by performing a close …
Le musée pour l’installation d’art contemporain
Museums of contemporary art have appeared everywhere in the Western world and beyond in recent years, and they are constantly increasing in number. Any tourist visiting a major city today expects to find a museum of contemporary art, just as they expect to find an Italian restaurant or a cinema. In most cases, this is indeed what they find. At the very least, tourists will find that the city’s museum of contemporary art is still under constructio…
Le musée pour l'installation d'art contemporain
Ces dernières années, des musées d’art contemporain sont apparus partout dans le monde occidental et au-delà. Le nombre de ce genre de musées augmente en permanence. Le touriste d’aujourd’hui, qui se rend dans une grande ville, s’attend à y trouver un musée d’art contemporain, de la même manière qu’il s’attend à y trouver un restaurant italien ou un cinéma. Dans la plupart des cas, ces attentes sont confirmées. Dans le pire des cas, le touriste v…
Time-based art
The Border between Word and Image
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…
History Becomes Form
An insider's account of the art and artists of the most interesting Russian artistic phenomenon since the Russian Avant-Garde. In the 1970s and 1980s, a group of unofficial artists in Moscow-artists not recognized by the state, not covered by state-controlled media, and cut off from wider audiences-created artworks that gave artistic form to a certain historical moment: the experience of Soviet socialism. The Moscow conceptualists not only reflec…
Ökologie der Philosophie
The Time of Signs
Invisibility of the Digital
Art Power
A new book by Boris Groys acknowledges the problem and potential of art's complex relationship to power.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 the 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 cont…
The Immortal Bodies
Ilya Kabakov
The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and vanishes into space. The miserable room and the primitive slingshot suggest the…
Am Nullpunkt
Traumfabrik Kommunismus
Images de pensée
L'artiste Peter Weibel s'inscrit dans un prolongement paradoxal des avant-gardes du vingtième siècle. Les institutions de l'art sont mortes ? Il propose le devenir-institution des artistes. Le regardeur s'est émancipé ? Il s'efforce de le contrôler. Les techniques traditionnelles sont périmées ? Il recourt à l'art numérique, seul à même de figurer les processus de pensée
Back from the future
On the New
The Border between Word and Image
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…
Ciudad del arte. Volverse público. Las transformaciones del arte en el ágora contemporánea
Hurting the Feelings of Others
The phenomenon of self-censorship is even more widespread than the censorship itself. The most immediate reason for self-censorship practiced by authors is the simple fact that these authors are afraid of the unpleasant consequences of what they are writing, painting, or otherwise communicating. This is true especially for authors living under authoritarian regimes. However, more interesting are the cases when people practice self-censorship beca…
The Immortal Bodies
The logic of the collection
In our culture 'serious', 'autonomous', art is produced primarily to be collected. Unlike in the past, it is no longer conceived as an element of a temple, a church, a palace or a functional public space. It is even possible to argue that the modern notion of 'art' is a result of the emerging of the modern museum in the 18th century. The historical museum didn't collect art but rather produced it through displaying the very heterogeneous objects …
Perestroïka, glasnost et postmodernisme
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Gesamtkunstwerk Stalin
The Total Art of Stalinism
The Total Art of Stalinism
Die Erfindung Russlands
On the New
Back from the future
Traumfabrik Kommunismus
Images de pensée
L'artiste Peter Weibel s'inscrit dans un prolongement paradoxal des avant-gardes du vingtième siècle. Les institutions de l'art sont mortes ? Il propose le devenir-institution des artistes. Le regardeur s'est émancipé ? Il s'efforce de le contrôler. Les techniques traditionnelles sont périmées ? Il recourt à l'art numérique, seul à même de figurer les processus de pensée
Ilya Kabakov
The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and vanishes into space. The miserable room and the primitive slingshot suggest the…
Am Nullpunkt
Art Power
A new book by Boris Groys acknowledges the problem and potential of art's complex relationship to power.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 the 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 cont…
The Immortal Bodies
Ökologie der Philosophie
The Time of Signs
Invisibility of the Digital
History Becomes Form
An insider's account of the art and artists of the most interesting Russian artistic phenomenon since the Russian Avant-Garde. In the 1970s and 1980s, a group of unofficial artists in Moscow-artists not recognized by the state, not covered by state-controlled media, and cut off from wider audiences-created artworks that gave artistic form to a certain historical moment: the experience of Soviet socialism. The Moscow conceptualists not only reflec…
Le musée pour l’installation d’art contemporain
Museums of contemporary art have appeared everywhere in the Western world and beyond in recent years, and they are constantly increasing in number. Any tourist visiting a major city today expects to find a museum of contemporary art, just as they expect to find an Italian restaurant or a cinema. In most cases, this is indeed what they find. At the very least, tourists will find that the city’s museum of contemporary art is still under constructio…
Le musée pour l'installation d'art contemporain
Ces dernières années, des musées d’art contemporain sont apparus partout dans le monde occidental et au-delà. Le nombre de ce genre de musées augmente en permanence. Le touriste d’aujourd’hui, qui se rend dans une grande ville, s’attend à y trouver un musée d’art contemporain, de la même manière qu’il s’attend à y trouver un restaurant italien ou un cinéma. Dans la plupart des cas, ces attentes sont confirmées. Dans le pire des cas, le touriste v…
Time-based art
The Border between Word and Image
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…
Transition in Post-Soviet Art
The artistic tradition that emerged as a form of cultural resistance in the 1970s changed during the transition from socialism to capitalism. This volume presents the evolution of the Moscow-based conceptual artist group called Collective Actions, proposing it as a case-study for understanding the transformations that took place in Eastern European art after the fall of the Berlin Wall. Esanu introduces Moscow Conceptualism by performing a close …
Ciudad del arte. Volverse público. Las transformaciones del arte en el ágora contemporánea
Hurting the Feelings of Others
The phenomenon of self-censorship is even more widespread than the censorship itself. The most immediate reason for self-censorship practiced by authors is the simple fact that these authors are afraid of the unpleasant consequences of what they are writing, painting, or otherwise communicating. This is true especially for authors living under authoritarian regimes. However, more interesting are the cases when people practice self-censorship beca…
Art (23 works) · Political science (12 works) · Art history (11 works) · Aesthetics (9 works) · Law (9 works) · Philosophy (9 works) · Art, Politics, and Modernism (7 works) · History (7 works) · Politics (7 works) · Computer Science (6 works)