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Subject:

FW: Boris GROYS Lecture in Durham. 21 June 2018, 17:30

From:

Andrew Jameson <[log in to unmask]>

Reply-To:

Andrew Jameson <[log in to unmask]>

Date:

Fri, 25 May 2018 15:41:17 +0100

Content-Type:

text/plain

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-----Original Message-----
From: On all aspects of Russia and the FSU
[mailto:[log in to unmask]] On Behalf Of Dusan Radunovic
Sent: Friday, May 25, 2018 10:43 AM
To: [log in to unmask]
Subject: Boris GROYS Lecture in Durham. 21 June 2018, 17:30

School of Modern Languages and Cultures at Durham University is pleased to
announce that its Annual Leslie Brooks Lecture for 2018 will be given by
Professor Boris Groys. Groys's lecture "A Cold War between the Medium and
the Message" will take place on Thursday 21 June at 17.30 in ER201 (New
Elvet). The lecture will be followed by a wine reception. Please see below
for the lecture abstract and a short biographical note. 

Boris Groys. A Cold War between the Medium and the Message

Modernism presents itself as self-criticism of art that takes seriously the
famous Plato's critique of art. For Plato art produces affects whereas
philosophy produces knowledge. The affects are good - or, rather, bad - for
the ordinary people. The knowledge is worth of the efforts by the best
people. Here the great divide between aesthetically good art and
aesthetically bad art is drawn - and at the same time between the Western
modern art and the Eastern Socialist Realism. Clement Greenberg famously
stated that the production of affects is directly related to the mechanisms
of recognition: people are emotionally moved when they are confronted with
realistic, naturalistic representations of the world. However, inside the
Modernist tradition itself one can find a view that is perfectly opposed to
the view professed by Greenberg and the majority of the post-greenbergian
authors. One may think here of the theoretical writings by Wassily
Kandinsky. According to Kandinsky the representations are neutral, merely
factual - they do not transport any moods and do not affect the spectator.
On the contrary, it is the "pure painting" that produces and transports
affects and feelings. A picture may be figurative or abstract-what matters
is that it uses forms and colors that are needed for the visualization and
efficient transmission of certain moods and emotions.

About Boris Groys 

Boris Groys is a philosopher, media theorist and art curator, whose work
spans across a wide range of disciplines. He is a Global Distinguished
Professor of Russian and Slavic Studies at New York University, Senior
Research Fellow at the Staatliche Hochschule für Gestaltung Karlsruhe, and a
professor of philosophy at The European Graduate School. The genealogy of
Groys's thought is complex and its preoccupations are truly wide-ranging.
Meandering between different, sometimes disparate philosophical traditions,
from Russian "cosmism" to post-structuralism, Groys's intellectual quest has
developed in permanent dialogue with diverse artistic practices, from
historical avant-garde to Socialist Realism, conceptual art, or, more
recently, the art of the digital era. Groys's bibliography is extensive. His
first writings appeared in the 1970s Soviet samizdat and they distinctly
express the author's interest in the intersection between aesthetics and
philosophy. Groys's emigration to Germany in early 1980s paved the way for
his reception amongst Western audiences. The appearance in print of his
landmark Gesamtkunstwerk Stalin [The Total Art of Stalinism] in Munich in
1988 marked the beginning of its author's lasting intervention in
contemporary philosophy and art theory. Today, Boris Groys's
English-language bibliography includes almost 20 monographs, innumerous
articles, curatorial contributions and video essays. The most recent of
these are Russian Cosmism (MIT Press, 2018), Particular Cases (Sternberg
Press, 2016), On the New (Verso, 2014), History Becomes Form: Moscow
Conceptualism (MIT Press, 2013), The Communist Postscript (Verso, 2010),
Going Public (Sternberg Press 2010), Art Power (MIT Press, 2008), Thinking
in Loop: Three Videos on Iconoclasm, Ritual and Immortality (DVD, 2008).  

_______________________________________
Dr Dušan Radunović
Associate Professor of Russian 
School of Modern Languages and Cultures
Durham University
Elvet Riverside
Durham DH1 3JT

Tel. +44 (0)191 33 44 664
http://www.dur.ac.uk/mlac/russian/

Open World Research Initiative, Transnational Strand 
https://www.dur.ac.uk/owri/subprojects/

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