Author: Groys Boris
Professor of Russian and Slavic Studies at the New York University. Address: 19 University Place, NYU Room 208, New York NY 10003, USA. E-mail: email@example.com.
“I See Quentin Meillassoux as Exactly Like Stalin.” An Interview / Logos. 2018. № 4 (125). P. 27-54
annotation: This interview is concerned with problems that some contemporary theories such
as accelerationism, the theory of a new spirit of capitalism, and speculative realism
confront as they turn out to be not so far removed from the theories of the 19th and
the beginning of the 20th centuries. Instead of acceleration, Groys offers a concept
of a deceleration which eventually results in stagnation. This suggests the possibility
of actualizing the experience of Soviet socialism, which Groys always understood
as original and exotic and therefore especially valuable to those who study it with an
open mind. The interview also considers the scandal resulting from the publication
of Heidegger’s Black Notebooks. According to Groys, Heidegger’s position hinged
on his attitude toward language, which he felt should be defended at some point by
force of arms. Fascism in language may in turn be challenged by the language of visual
culture that is universal and extra-national.
The interview also considers art, including where something new in art is now
to be found. The new is produced by a change in context, and what is new in art is
always a new interpretation of its boundaries. Joseph Beuys’ slogan, “Everyone is an
artist”, has become even more to the point because contemporary communication in
its extremely varied modes lacks an address. Groys underlines the special role of reenactment
in contemporary art as it increasingly devotes itself to exhibiting archived
material and documenting earlier performances. All of this is focused on making the
spectator feel that she has irrevocably missed something and will never be able to
make contact with it. That manoeuvre is also relevant to the problem of authenticity
in art because the authentic exists only as something elusive and impossible to attain
and never as the authentic itself. It exists only as the dream of itself. The interview
touches upon the success strategies for contemporary artists: to succeed locally, you
must first become famous internationally.
Keywords: art; authenticity; accelerationism; Russian Cosmism; speculative realism; capitalism; materialism.
Fiction De-Fictionalized: Art and Literature Online / Logos. 2015. № 4 (106). P. 1-15
annotation: The article offers an analysis of the contemporary status of literature and art, in light of the transfer of processes of their creation and distribution into the web space. The author claims that in their traditional representation, art and literature referred to the domain of fiction, while the actual use of the internet as a place of creation and demonstration of pieces of art and literary texts leads to the turning away from fiction and towards real life. The key role here belongs to the connection between the internet and offline reality: the internet is a place where authors create, demonstrate, and distribute their works while living their everyday life at the same time (shopping, communicating with friends, etc.). The internet provides transparency in the creative process, making this process available for the eyes of every user; consequently, the authors do not need to complete their pieces, as the work of the artist itself becomes an art project, demonstrating a difference between a modern creator and a traditional artist, as the creator of completed pieces of art. To conclude, the author addresses internet archives and their utopian potential capacity, allowing us to consider the pieces of art stored in these archives separately from their historical context.
Keywords: internet; fiction; art; hermeneutics; archive
Antiphilosophy, or Philosophical Ready-Mades / Logos. 2013. № 6 (96). P. 1-6
annotation: The author draws parallels between socalled “anti-art”, which utilizes readymades, and what he has called by analogy “antiphilosophy”. To define and start a ready-made philosophical practice one needs to demonstrate that certain ordinary, everyday practices do not conform to the frameworks of individual cultural identities, and in this sense transcend any cultural relativism. In this way, it becomes possible to open a universal, transcendent meta-perspective without having to overcome one’s natural attitude through the heroic act of philosophical metanoia. The antiphilosopher does not have to search beyond the world in order to take on a meta position; instead, he looks for existing innerworldly practices that already have a universal dimension which transcends any particular worldview. This can be technique (Junger), war, error and illusion, laughter, tears, opera (Wagner), media (McLuhan), etc. Here the philosopher interprets a certain ordinary practice as a universal practice, which subsequently becomes philosophically relevant.
Keywords: anti-philosophy, ready-made, metanoia, natural attitude, meta-position