Art Power

Groys, Boris

doi:10.7551/mitpress/7469.001.0001

Cited by 221 publications

(38 citation statements)

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“…The paper also raises issues around artists’ sensitivity to the social and political realities of place, and how they can often be caught, intentionally or otherwise, in processes of gentrification with important social consequences 12 . There is a widespread assumption, especially with conceptual art produced in contemporary capitalist societies, that art practice is disconnected from wider political and economic concerns (Groys 2008). This failure to reflect critically on the commodification and implicit ideological agenda of artistic production and consumption is a charge Stallabrass (1999) clearly levels at the yBas.…”

Section: Discussionmentioning

confidence: 99%

Art and gentrification: pursuing the urban pastoral in Hoxton, London

Harris¹

2011

Trans Inst British Geog

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The role of artists as precursors and agents of gentrification processes has been widely acknowledged and studied. Yet there has been limited consideration of the particular aesthetic practices and attitudes deployed by these artists, and the related urban landscapes they have helped shape and re-imagine. This paper uses the notion drawn from art history of the 'urban pastoral' to highlight largely disregarded socio-cultural and political relations of power accompanying gentrification. It focuses on a district of inner London called Hoxton where a deindustrialised location and a legacy of forms and practices of British working-class popular culture offered artists a rich resource and socio-spatial environment to work and operate during the 1990s. By indulging in fantasies and performances of the urban pastoral, these artists fashioned a new cultural landscape that not only catered to many of the lifestyle tastes and investment priorities within postindustrial London, but manipulated and downplayed the complex and potentially conflictual histories of the area. The paper argues that this capture of urban space through the pastoral is indicative of new forms of gentrification where classbased and race-related neighbourhood change occurs without direct displacement.

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Section: Discussionmentioning

confidence: 99%

Art and gentrification: pursuing the urban pastoral in Hoxton, London

Harris¹

2011

Trans Inst British Geog

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“…In the essay "Art in the Age of Digitization" Groys questions the relations between the original and the digital and the way viewer can grasp the data, information embedded in the digital image. Invisible, he argues, is in the multiplications of visualizations [12]. In digital networked videos that we discussed, information is fragmentary and manifested in shaky camera, glitch, interruptions in editing, poor audio, peripheral angles.…”

Section: Discussionmentioning

confidence: 97%

Image as a trace of action: Recording activist performance art

Fedorova

Schiphorst

2014

2014 International Conference on Virtual Systems &Amp; Multimedia (VSMM)

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This paper looks at performance in the context of activism and digital video documentation in which performers' corporeality and the scenic space are mediated through video and online video sharing platforms such as YouTube. It aims to define the ways digital video materializes the body of the performer in front of the camera and how this corporeality is translated to the spectator. Despite all technical possibilities provided by digital technology, it is the degraded, low-fi amateur aesthetics of the digital image that reveals the political in the piece by engaging the viewer. We analyze a number of contemporary performance artworks (Art Group Voina, Philip Huang, 0100101110101101.org -Eva and Franco Mattes). This paper closes with a discussion about the paradigm between the representation of body in social space, legibility of the image, compressed aesthetics and online video circulation.

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“…In contrast, as Groys (2011) and others point out, what defines contemporary art today is its tendency to call attention to its own processes of mediation, to conspicuously announce the conditions and procedures of its social production and to highlight the participation of audiences and institutions in these processes. And if this is the case, then contemporary art that mobilises money as theme or media is inherently borne of a friction that might spark the radical imagination.…”

Section: An Aside On Mediationmentioning

confidence: 99%

Art and money: Three aesthetic strategies in an age of financialisation

Haiven

2015

Finance soc.

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Recent decades of financialisation have seen a significant growth in art that mobilises various forms of money as artistic media. These range from the integration of material money (coins, bills, credit cards) into aesthetic processes, such as sculpture, painting, performance, and so on, to a preoccupation with more ephemeral thematics including debt, economics, and the dynamics of the art market. This article explores three (and a half) strategies that artists use to engage with money: crass opportunism; a stark revelation of money's power; a coy play with art's subjugation to money; and a more profound attempt to reveal the shared labour at the heart of both money and art's aesthetic-political power. Money's perennial appeal to artists stems from the irony of its tantalising capacity to almost represent capitalist totality. At their core, both money and art are animated by a certain creative labour, a suspension of disbelief, and a politics of representation. Artistic practices that use money can provide critical resources for studying, understanding, and seeing beyond the rule of speculative capital.

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Art Power

Cited by 221 publications

References 0 publications

Art and gentrification: pursuing the urban pastoral in Hoxton, London

Art and gentrification: pursuing the urban pastoral in Hoxton, London

Image as a trace of action: Recording activist performance art

Art and money: Three aesthetic strategies in an age of financialisation

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