Biography[ edit ] Groys attended high school in Leningrad known since as St. From — he studied mathematical logic at the University of Leningrad , subsequently working as a research fellow at various scientific institutes in Leningrad. From he served as a research fellow at the Institute of Structural and Applied Linguistics at the University of Moscow. He earned a Ph. During his time in the Soviet Union , Groys participated in the unofficial cultural scenes of Moscow and Leningrad, publishing in 37, Chasy, and other samizdat magazines.
|Published (Last):||9 November 2016|
|PDF File Size:||13.74 Mb|
|ePub File Size:||4.29 Mb|
|Price:||Free* [*Free Regsitration Required]|
Biography Boris Groys b. His work engages radically different traditions from French poststructuralism to modern Russian philosophy, yet is firmly situated at the juncture of aesthetics and politics. At the end of this fellowship, he left the Soviet Union and moved to the Federal Republic of Germany. During this time, Groys was also a visiting professor in the Department of Slavic Languages and Literature at the University of Pennsylvania, followed by another appointment at the University of Southern California, also in the Department of Slavic Languages and Literature.
His contributions stretch across the field of philosophy, politics, history, and art theory and criticism. While Boris Groys teaches, lectures, and writes on philosophy, politics, and history, it has been his work in aesthetics, and his co-mingling of ideas through aesthetics, that has brought him the most recognition and where he has made his most significant contributions.
Groys proposes and underscores the involvement of the Russian avant-garde in the Bolshevik movement as well as in the early stages of the Bolshevik State. One of his fundamental theses is that these artists——like their political counterparts——tried to outpace the developments of modernity, and so, they, like the Bolsheviks themselves, attempted to skip the steps supposed to be necessary and constitutive of historical progress.
While it is widely acknowledged in modern Russian art history that an opposition developed among artists during the revolutionary period between those constituting an avant-garde and those complicit with the state sanctioned art of the Soviet Union, Boris Groys contends that this was the result of a split and not a continuation of a pre-Revolutionary division.
More specifically, Groys posits a more refined understanding of the period such that these artists cannot be simply and uniformly grouped as having been in partnership with the state Party and then, slowly, over the period split off into an opposing position.
Indeed, he contends that much of the avant-garde remained on the ideological side of the state Party well past its early stages. Moreover, these artistic developments entered the political field and thereby became its extension. It is in this respect that Groys then posits the relationship between romanticism and twentieth century Russian avant-garde art. Complicating and pushing this position further, Groys finds this phenomenon not at all exclusive to the Soviet Union, but in fact points to its uncanny parallel in the readymades of Marcel Duchamp.
Within this framework, Groys investigates not only the historical, political, and aesthetic relations in the Soviet Union and Russia, but as well specific artistic and literary works such as those by Ilya Kabakov, Komar and Melamid, and Prigov. While the majority of his work is within aesthetics, his thesis is not exclusive to aesthetics. Rather, Groys tends to think politics, and philosophy, with and through the medium of art.
In these terms art history is formulated a little like botany or biology. The second way of considering art history is as part of the history of ideas. We have the history of philosophy, the history of science, the history of cultural history, just as we can have the history of art. So the question is whether we define art history more like botany, or more like the history of philosophy — and I tend more to the latter, because, as I have suggested, the driving force of art is philosophical.
Kommunisticheskiy Postskriptum. Ad Marginem, Hatje Cantz, Carl Hanser Verlag, Under Suspicion: A Phenomenology of Media. Translated by Carsten Strathausen. Columbia University Press, Going Public. Sternberg Press, History Becomes Form: Moscow Conceptualism. MIT Press, Carl Hanser, An Introduction to Antiphilosophy. Translated by David Fernbach.
Verso, Art Power. Die Kunst des Denkens. Philo Fine Arts, Ilya Kabakov. Das Kommunistische Postskriptum. Suhrkamp, The Communist Postscript. Le Post-scriptum Communiste. Translated by Olivier Mannoni. Postscriptum Comunista. Translated by Gianluca Bonaiuti. Metemi Melusine, Die Muse im Pelz. Literaturverlag Droschl, Topologie der Kunst. Kommentarii k iskusstvu. KhZh, Quatre entretiens avec Thomas Knoefel. Translator Olivieri Mannon. Maren Sell Editeurs, Ad marginem, Logik der Sammlung.
Passagen, Die Kunst der Installation. Die Erfindung Russlands. On the New. Translated by G. Sobre lo Nuevo. Pre-textos, Jacqueline Chambon, Klinkhardt u. Die Kunst des Fliehens. Dnevnik Filosofa. Translated by Ikuo Kameyama and Yoshiaki Koga. Gesamtkunstwerk Stalin. Translated by Desiderio Navarro. Translated by Emanuela Guercetti.
Garzanti, Translated by Charles Rougle. Die Gespaltene Kultur in der Sowjetunion. Translated by Gabriele Leupold. Moscow Symposium: Conceptualism Revisited. Black Dog, Exhibition catalogue.
Die Neue Menschheit. Am Nullpunkt. Revolver, Diederichs, Fluchtpunkt Moskau. Cantz, Utopia i Obmen. Izd-vo Znak,