他的著作《走向公眾》(Going Public, 2010)、《揣測與媒介:媒介現象學》(Unter Verdacht: Eine Phanomenologie der Medien, 2000)有中文簡體版,廣為學術界與藝術圈流傳。其他包括:《共產主義後記》(The Communist Postcript, 2010)、《史達林主義的整體藝術:前衛藝術、美學獨裁及超越》(The Total Art of Stalinism: Avant-...
他的著作《走向公眾》(Going Public, 2010)、《揣測與媒介:媒介現象學》(Unter Verdacht: Eine Phanomenologie der Medien, 2000)有中文簡體版,廣為學術界與藝術圈流傳。其他包括:《共產主義後記》(The Communist Postcript, 2010)、《史達林主義的整體藝術:前衛藝術、美學獨裁及超越》(The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship and Beyond, 2011)、《反哲學導論》(Introduction to Antiphilosophy, 2012)、《歷史變成形式:莫斯科觀念主義》(History Becomes Forms: Moscow Conceptualism, 2013)、《論新》(On The New, 2014)。
Modern art operated not only as a machine of inclusion of everything that was not regarded as art before its emergence but also as a machine of exclusion of everything that imitated already existing art patterns in a naive, unrefl ective, unsophisticated—nonpolemical—manner, and also of everything that was not somehow controversial, provocative, challenging. But this means: The fi eld of modern art is not a pluralistic fi eld but a f i eld strictly structured according to the logic of contradiction . It is a fi eld where every thesis is supposed to be confronted with its antithesis. (查看原文)
Already Malevich said that he was struggling against the sincerity of the artist. And Broodthaers said—when he started to do art—that he wanted to do something insincere. To be insincere means in this context to make art beyond all taste—even beyond one’s own taste. (查看原文)
0 有用 驵琮 2021-12-15 19:03:50
太牛逼了
0 有用 ZHOU 2021-12-09 20:48:12
妈的,绪论就醍醐灌顶
0 有用 林嬰 2018-04-14 18:04:08
喜欢对本雅明、城市以及多重作者的观点
0 有用 シラカバ 2021-08-07 19:36:46
重新细读一遍,get到了里面说的当代艺术的“矛盾性”以及对艺术时间有了新的解读
0 有用 象倌 2020-06-27 23:46:23
为什么每次阅读格罗伊斯,他都恰到好处地震碎了我原有的偏见,哪怕是曾经残留下的从他自身而来的观点?事实上,就像是潮汐,一遍遍地洗刷偏见,却又同时不断地被偏见再次占领。他无法给予深刻的痛苦,哪怕阅读格罗伊斯总是令我惊奇。 ……我们在平等中抵抗着平等自身所带来的不平等;同样,我们在自由中抵抗着自由本身所带来的不自由。