In the Flow
by Boris Groys
Via Verso: "In the early twentieth century, art and its institutions came under critique from a new democratic and egalitarian spirit. The notion of works of art as sacred objects was decried and subsequently they would be understood merely as things. This meant an attack on realism, as well as on the traditional preservative mission of the museum. Acclaimed art theorist Boris Groys argues this led to the development of “direct realism”: an art that would not produce objects, but practices (from performance art to relational aesthetics) that would not survive. 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 charts the paradoxes produced by this tension, and explores art in the age of the thingless medium, the Internet. Groys claims that 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."
Via e-flux: "And that means precisely that contemporary art has become the medium for investigating the eventfulness of events: the different modes of the immediate experience of events, their relationship to documentation and archiving, the intellectual and emotional modes of our relationship to documentation, and so forth. Now, if the thematization of the eventfulness of the event has become, indeed, the main preoccupation of contemporary art in general and the museum of contemporary art in particular, it makes no sense to condemn the museum for staging art events. On the contrary, today the museum has become the main analytical tool for staging and analyzing the event as radically contingent and irreversible—amidst our digitally controlled civilization that is based on tracking back and securing the traces of our individual existence in the hope of making everything controllable and reversible. The museum is a place where the asymmetrical war between the ordinary human gaze and the technologically armed gaze not only takes place, but also becomes revealed—so that it can be thematized and critically theorized."
Thanks to Swantje Lichtenstein!