Äåòàëüíàÿ èíôîðìàöèÿ îá èçäàíèè

Àâòîð:

Çàãëàâèå:

Moscow Symposium: Conceptualism Revisited

Òèï íîñèòåëÿ:

Îäíîòîìíèê.

Ìåñòî èçäàíèÿ:

Berlin

Èçäàòåëüñòâî:

Sternberg Press

Ãîä èçäàíèÿ:

2012

Îáúåì:

174 p.

Íàçâàíèå ñåðèè:

E-flux journal

Àííîòàöèÿ:

Publication based on the conference —Revisiting Conceptual Art: The Russian Case in an International Context,' which took place in Moscow in April 2011, organized by Boris Groys and Stella Art Foundation. Boris Groys is an art critic, media theorist, and philosopher. He is Global Distinguished Professor of Russian and Slavic Studies at New York University and Professor of Philosophy at the European Graduate School in Saas-Fee, Switzerland. He is the author of Art Power, History Becomes Form: Moscow Conceptualism (both published by the MIT Press), and other books. Beyond the view that multiple, globally dispersed conceptual art practices provide a heterogeneity of cultural references, Andrei Monastyrski and Collective Actions propose much more: other dimensions altogether, other spatiotemporal politics, other timescales, other understandings of matter, other forms of life--not only as works, but as a basic condition for being able to perceive artworks in the first place. Could it be that the Moscow Conceptualists were so elusive or saturated with the particularities of life in a specific economic and intellectual culture that they precluded integration into a broader art historical narrative? If so, then their simultaneously modest and radical approach to form may present a key to understanding the resilience and flexibility of a more general sphere of global conceptualisms that anticipate, surpass, or even bend around their purported origins in canonical European and American regimes of representation, as well as what we currently understand to be the horizon of artistic practice.

ISBN:

978-3-943365-11-5

ßçûê:

Àíãëèéñêèé

ÁÁÊ:

Ðàçìåðû èçäàíèÿ:

17 cì.

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