Boris Groys je uznávaný umelecký kritik, mediálny teoretik a filozof, ktorého dielo skúma vzťah medzi umením, filozofiou a technológiou. Vo svojej rozsiahlej akademickej kariére, ktorá zahŕňala pôsobenie na prestížnych univerzitách po celom svete, sa Groys hlboko zaoberá otázkami modernosti, umeleckej avantgardy a dopadu médií na súčasné myslenie. Jeho teoretické rámce ponúkajú prenikavý pohľad na zložitosti umeleckého diskurzu a jeho premeny v digitálnom veku. Jeho literárny prínos spočíva v neúnavnom skúmaní hraníc umenia a filozofie.
Vo svojej knihe Filozofia starostlivosti chápe autor starostlivosť ako typ práce, ktorá definuje našu epochu; cez návrat k minulým koncepciám ponúka návod na pochopenie našej súčasnosti a chaosu, v ktorom sme sa ocitli.
Druhý svazek Edice VVP AVU seznamuje českého čtenáře v knižní podobě poprvé s myšlením významného filosofa a teoretika umění ruského původu Borise Groyse (*1947). Publikace zahrnuje překlady dvou studií (Gesamtkunstwerk Stalin, 1988; Komunistické postskriptum, 2005), které z různých perspektiv filosoficky interpretují historický fenomén sovětského komunismu.
Some of the most representative tendencies of the second half of the 20th century are represented in the private collection of German Reinhard Onnasch, which features work by Hans Hofmann, Robert Motherwell, Morris Louis, Barnett Newman, Cy Twombly, Robert Rauschenberg, Claes Oldenburg, Andy Warhol, Edward Kienholz, Dan Flavin, Hans Haacke, Robert Smithson, Mike Kelley, Dan Graham, Lawrence Weiner, Jason Rhoades, and others.Essays by Boris Groys, Petra Kipphoff. Artworks by Dan Flavin, Dan Graham, Hans Haacke, Hans Hofmann, Mike Kelley, Edward Kienholz, Morris Louis, Robert Motherwell, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, Robert Smithson, Cy Twombly, Andy Warhol, Lawrence Weiner. 8.75 x 10.5 in.110 color illustrationsEnglish/Portuguese
steirischer herbst '23 (Reader)
The leading art theorist takes on art in the age of the Internet 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.
A provocative essay on the relationship between communism, philosophy and language. 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.
