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.
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