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Still, as Groys emphasizes again in the interview below, without the museum, there can be no innovation.Groys distinguishes the new from modernist ‘myths’ of historical progress and utopia, but also from contemporary myths such as creativity and the ‘Other’. ’ This much is clear: if you want to sell something, you have to emphasize its novelty.This ideology was once most forcefully voiced and promoted by nineteenth-century artists and art theorists. The shock of the new, as Australian art critic Robert Hughes later called it, became the primary characteristic of modern art, the first as well as the final criterion for its valuation.In his essay ‘Comrades of Time’ (2009) Boris Groys writes: The present as such was mostly seen in the context of modernity as something negative, as something that should be overcome in the name of the future […] Today, we are stuck in the present as it reproduces itself without leading to any future.[…] One can say that we now live in a time of indecision, of delay—a boring time.All that remains for art is to illustrate a critique that society has already leveled at or manufactured for itself.To demand that art be practiced in the name of existing social differences is actually to demand the affirmation of the existing structure of society in the guise of social critique (113).

For Groys, this meant that we had to start looking for a new understanding of the new.Depending on the total order amount, we use a combination of the following denominations:€ 5, € 7.50, € 10, € 15, € 20, and € 25. For online orders, we prefer you to use this email order form.You may also call us, but will have to supply an email address for the payment link.What Duchamp did, after all, was not to invent something that was not there before, but to place something from the domain of the profane in the domain of the sacred.In retrospect, argues Groys, this was what art and artists have always done.

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