Modern history is a history of aesthetizations – and every aesthetization raises a claim of protection. We aestheticize and want to protect almost everything, including Earth, oceans, the atmosphere, rare animal species and exotic plants. Humans are no exception. They also present themselves as objects of contemplation that deserve admiration and care. For some time, artists and intellectuals struggled for the sovereign right to present themselves to society in their own way – to become self-created works of art. Today everybody has not only a right but also an obligation to practice self-design. We are responsible for the way we present ourselves to others – and we cannot get rid of this aesthetic responsibility. However, we are not able to produce our own bodies. Before we begin to practice self-design, we find ourselves already designed by the gaze of others. That is why the practice of self-design mostly takes a critical and confrontational turn. We want to bring others to see us in the way we want to be seen – not only during our earthly life but also after our death. This is a complicated struggle, and the aim of this book is to describe and analyze it.

A teacher to Jacques Lacan, Andre Breton, and Albert Camus, Kojeve defined art as the act of extracting the beautiful from objective reality. His poetic text, "The Concrete Paintings of Kandinsky," endorses nonrepresentational art as uniquely manifesting beauty. Taking the paintings of his renowned uncle, Wassily Kandinsky, as his inspiration, Kojeve suggests that in creating (rather than replicating) beauty, the paintings are themselves complete universes as concrete as the natural world. Kojeve's text considers the utility and necessity of beauty in life, and ultimately poses the involuted question: What is beauty? Including personal letters between Kandinsky and his nephew, this book further elaborates the unique relationship between artist and philosopher. An introduction by Boris Groys contextualizes Kojeve's life and writings.

The artistic tradition that emerged as a form of cultural resistance in the 1970s changed during the transition from socialism to capitalism. This volume presents the evolution of the Moscow-based conceptual artist group called Collective Actions, proposing it as a case-study for understanding the transformations that took place in Eastern European art after the fall of the Berlin Wall. Esanu introduces Moscow Conceptualism by performing a close examination of the Collective Actions group's ten-volume publication Journeys Outside the City and of the Dictionary of Moscow Conceptualism. He analyzes above all the evolution of Collective Actions through ten consecutive phases, discussing changes that occur in each new volume of the Journeys. Compares the part of the Journeys produced in the Soviet period with those volumes assembled after the dissolution of the USSR. The concept of "transition" and the activities of Soros Centers for Contemporary Art are also analyzed.

An interdisciplinary volume of essays identifying the impact of technology on the age-old cultural practice of collecting as well as the opportunities and pitfalls of collecting in the digital era. Seminal to the rise of human cultures, the practice of collecting is an expression of individual and societal self-understanding. Through collections, cultures learn and grow. The introduction of digital technology has accelerated this process and at the same time changed how, what, and why we collect. Ever-expanding storage capacities and the accumulation of unprecedented amounts of data are part of a highly complex information economy in which collecting has become even more important for the formation of the past, present, and future. Museums, libraries, and archives have adapted to the requirements of a digital environment, as has anyone who browses the internet and stores information on hard drives or cloud servers. In turn, companies follow the digital footprint we leave behind. Today, collecting includes not only physical objects but also the binary code that allows for their virtual representation on screen. Collecting in the Twenty-First Century identifies the impact of technology, both new and old, on the cultural practice of collecting as well as the challenges and opportunities of collecting in the digital era. Scholars from German Studies, Media Studies, Museum Studies, Sound Studies, Information Technology, and Art History as well as librarians and preservationists offer insights into the most recent developments in collecting practices.

Our current culture is dominated by the ideology of creativity. One is supposed to create the new and not to care about the things as they are. This ideology legitimises the domination of the "creative class" over the rest of the population that is predominantly occupied by forms of care - medical care, child care, agriculture, industrial maintenance and so on. We have a responsibility to care for our own bodies, but here again our culture tends to thematize the bodies of desire and to ignore the bodies of care - ill bodies in need of self-care and social care. But the discussion of care has a long philosophical tradition. The book retraces some episodes of this tradition - beginning with Plato and ending with Alexander Bogdanov through Hegel, Heidegger, Bataille and many others. The central question discussed is: who should be the subject of care? Should I care for myself or trust the others, the system, the institutions? Here, the concept of the self-care becomes a revolutionary principle that confronts the individual with the dominating mechanisms of control.

The first fully illustrated survey of participatory art and its key practitioners, published in association with the San Francisco Museum of Modern Art.
This new survey covers the rich and varied history of participatory art, from early happenings and performances to current practices that demand audience interaction. As the hallmarks of Web 2.0--browsing, sharing, collecting, producing--increasingly permeate every aspect of society, this timely project reveals the ways in which artists and viewers have approached the creation of open works of art. The featured artists include Marina Abramovic and Ulay, Vito Acconci, Joseph Beuys, John Cage, Janet Cardiff, Lygia Clark, Kit Galloway and Sherrie Rabinowitz, Dan Graham, Hans Haacke, Allan Kaprow, Lynn Hershman Leeson, Antoni Muntadas, Yoko Ono, Nam June Paik, and Erwin Wurm.
Original essays by Rudolf Frieling, Boris Groys, Robert Atkins, and Lev Manovich identify seminal moments in participatory practice from the 1950s to the present day. A rich array of plates introduce work by all the artists in the accompanying exhibition, with reproductions of significant projects by other major figures--from Helio Oiticica, Joan Jonas, and Gordon Matta-Clark to Rirkrit Tiravanija and SUPERFLEX--rounding out the survey. 215 color illustrations.

Wolfgang H Scholz (b. 1958) is a visual artist and film director. His work spans more than three decades and encompasses apart from painting many forms of expression, ranging from theatrical and documentary films, sculpture, photography, and installations to multimedia stage pieces. His central theme is the vision of an imaginary arrival, and his work method is a form of decoding. Other essential concepts that recur in Scholz's work include the labyrinth, time, memories or localization and the questioning of reality. The title The Void is taken from a Buddhist term for the Fifth Element: The Void. Since 2010 Scholz has worked with Japanese Butoh masters, creating several multimedia stage pieces and series of photographic works on this theme. This volume includes a conversation with Prof. Dr. Boris Groys of New York University, one of the most important scholars of the arts and humanities of the twentieth century. This dialogue is an essential text for understanding the creative processes, references, and influences of Wolfgang H Scholz concerning the philosophical and programmatic themes of The Void. This book will be published to coincide with exhibitions by the MACO - Museum of Contemporary Art Oaxaca (2019), Mexico, the Museum Ex Teresa Arte Actual (2019), the gallery Casa Galván - UAM - Universidad Autónoma metropolitana (2020) and in collaboration with the presentations of the performance THE VOID at the Butoh Festival Kyoto, Japan (July 2019) and at the Theatre CC Los Talleres, Mexico City in 2019. Text in English with a Spanish and German insert.

The public generally regards the media with suspicion and distrust. Therefore, the media's primary concern is to regain that trust through the production of sincerity. Advancing the field of media studies in a truly innovative way, Boris Groys focuses on the media's affect of sincerity and its manufacture of trust to appease skeptics.

Groys identifies forms of media sincerity and its effect on politics, culture, society, and conceptions of the self. He relies on different philosophical writings thematizing the gaze of the other, from the theories of Heidegger, Sartre, Mauss, and Bataille to the poststructuralist formulations of Lacan and Derrida. He also considers media "states of exception" and their creation of effects of sincerity -- a strategy that feeds the media's predilection for the extraordinary and the sensational, further fueling the public's suspicions. Emphasizing the media's production of emotion over the presentation (or lack thereof) of "facts," Groys launches a timely study boldly challenging the presumed authenticity of the media's worldview.

"On the New" looks at the economies of exchange and valuation that drive modern culture's key sites: the intellectual marketplace and the archive. As ideas move from one context to another, newness is created. This continuous shifting of the line that separates the valuable from the worthless, culture from profanity, is at the center of Boris Groys's investigation which aims to map the uncharted territory of what constitutes artistic innovation and what processes underpin its recognition and appropriation.

A TLS Book of the Year 2017 In this, the first anthology of Russian contemporary art writing to be published outside Russia, many of the country's most prominent contemporary artists, writers, philosophers, curators and historians come together to examine the region's contemporary art, culture and and theory. With contributions from Ilya and Emilia Kabakov, Boris Groys, Dmitri Prigov, Anton Vidokle, Keti Chukhrov, Oxana Timofeeva, Pavel Pepperstein, Arseny Zhilyaev and Masha Sumnina amongst many others, this definitive collection reveals a compelling portrait of a vibrant and complex culture: one built on a contradicting dialectic between the material and the ideal, and battling its own histories and ideologies.

The Moscow Metro is a unique place. With a network of 400 kilometers of lines, exceptionally deep tunnels and stations, and nearly nine million passengers a day, it is one of the most heavily frequented underground subway systems in the world. Katharina Gruzei explored it over several years and now presents an aesthetically fascinating and socioculturally remarkable photographic survey. Ideologically charged and symbolic of Russia's eventful history, the Metro was started as a prestige project and simultaneously conceived to also be used as a bunker. It was always intended as a place for people to congregate and is still today a living space where social, political and societal tendencies are made legible. With her photo series, the artist enables an extraordinary journey through time and space in the underground of Moscow, a metropolis of millions.

"On the New" looks at the economies of exchange and valuation that drive modern culture's key sites: the intellectual marketplace and the archive. As ideas move from one context to another, newness is created. This continuous shifting of the line that separates the valuable from the worthless, culture from profanity, is at the center of Boris Groys's investigation which aims to map the uncharted territory of what constitutes artistic innovation and what processes underpin its recognition and appropriation.

In the early 20th century, art and its institutions came under critique from a new democratic and egalitarian spirit. In an age of secularism and materialism, artworks would be understood as merely things among other things. This meant an attack on the techniques of realism, and the traditional mission of the museum, both designed shield a small class of objects from the entropic fate awaiting everything else-and the development of an approach that Boris Groys calls "direct realism": an art that would not produce objects, but practices that could enter the flow of time to live and die like the rest of us. 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, one of the world's leading art theorists, charts the paradoxes produced by this tension, which continues to structure the production and reception of new art. The internet, the latest medium through which artists have attempted to disavow this special status, inverts the most notorious consequence of early modernist developments. 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.

From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists' goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.

Crucial texts, many available in English for the first time, written before and during the Bolshevik Revolution by the radical biopolitical utopianists of Russian Cosmism. Cosmism emerged in Russia before the October Revolution and developed through the 1920s and 1930s; like Marxism and the European avant-garde, two other movements that shared this intellectual moment, Russian Cosmism rejected the contemplative for the transformative, aiming to create not merely new art or philosophy but a new world. Cosmism went the furthest in its visions of transformation, calling for the end of death, the resuscitation of the dead, and free movement in cosmic space. This volume collects crucial texts, many available in English for the first time, by the radical biopolitical utopianists of Russian Cosmism. Cosmism was developed by the Russian philosopher Nikolai Fedorov in the late nineteenth century; he believed that humans had an ethical obligation not only to care for the sick but to cure death using science and technology; outer space was the territory of both immortal life and infinite resources. After the revolution, a new generation pursued Fedorov's vision. Cosmist ideas inspired visual artists, poets, filmmakers, theater directors, novelists (Tolstoy and Dostoevsky read Fedorov's writings), architects, and composers, and influenced Soviet politics and technology. In the 1930s, Stalin quashed Cosmism, jailing or executing many members of the movement. Today, when the philosophical imagination has again become entangled with scientific and technological imagination, the works of the Russian Cosmists seem newly relevant. Contributors Alexander Bogdanov, Alexander Chizhevsky, Nikolai Fedorov, Boris Groys, Valerian Muravyev, Alexander Svyatogor, Konstantin Tsiolkovsky, Anton Vidokle, Brian Kuan Wood A copublication with e-flux, New York

A new book by Boris Groys acknowledges the problem and potential of art's complex relationship to power. Art has its own power in the world, and is as much a force in the power play of global politics today as it once was in the arena of cold war politics. Art, argues the distinguished theoretician Boris Groys, is hardly a powerless commodity subject to the art market's fiats of inclusion and exclusion. In Art Power, Groys examines modern and contemporary art according to its ideological function. Art, Groys writes, is produced and brought before the public in two ways-as a commodity and as a tool of political propaganda. In the contemporary art scene, very little attention is paid to the latter function. Arguing for the inclusion of politically motivated art in contemporary art discourse, Groys considers art produced under totalitarianism, Socialism, and post-Communism. He also considers today's mainstream Western art-which he finds behaving more and more according the norms of ideological propaganda: produced and exhibited for the masses at international exhibitions, biennials, and festivals. Contemporary art, Groys argues, demonstrates its power by appropriating the iconoclastic gestures directed against itself-by positioning itself simultaneously as an image and as a critique of the image. In Art Power, Groys examines this fundamental appropriation that produces the paradoxical object of the modern artwork.

Alexander Kosolapov is one of the most remarkable "go-betweeners" of contemporary art, a nomadic presence across ideologies and cultures and a hero of Russian Conceptualism alongside Ilya Kabakov, Boris Mikhailov and Dmitri Prigov. In 1973, he cofounded the Sots-Art movement, which satirically conflated Soviet and American capitalist iconographies; in 1975 he relocated to New York, remaining there for 30 years and immersing himself in the American art scene. Dovetailing Russian political art with American Pop, Kosolapov created such well-known images as the "Lenin Coca Cola" (1985), "Malevich Marlborough" and "Lenin McDonald's." In his most recent works, Kosolapov proposes new, nonexistent brands for post-Soviet Russia. This substantial survey appraises the entirety of his career to date.

"Open" 22 investigates how transparency and secrecy are intertwined in modern-day society and explores how they relate to the public and the civic, using WikiLeaks as a test case. The contributors consider transparency as fetish and the ideal of the free flow of information.

"Archaeologist's Collection," a project by Russian-American artist Grisha Bruskin (born 1945), is set in a future world in which an archaeological dig has unearthed Soviet civilization and attempts to comprehend its mysterious remains.