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Titre:
Ilka Kabakov: the man who flew into space from his apartment

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Résumé:
The fictitious hero of this 1984 installation is a lonely dreamer who develops an impossible project: to fly alone in cosmic space. But this dream is also an individual appropriation of a collective Soviet project and the official Soviet propaganda connected to it. Having built a makeshift slingshot, the hero apparently flies through the ceiling of his shabby room and vanishes into space. The miserable room and the primitive slingshot suggest the reality behind the Soviet utopia, in which where cosmic vision and the political project of the Communist revolution are seen as indissoluble. The Man who Flew into Space from His Apartment also raises questions of authorship in modernity. All of Kabakov's work is made in the name of other, fictitious artists. This reveals a hidden rule of the modern art system: only an artist who doesn't want to be an artist or who doesn't even know that he is an artist is a real artist—just as only an artwork that does not look like an artwork is a real artwork. The installation is a narrative, the documentation of a fictitious event. Boris Groys is Professor of Philosophy and Art Theory at the Academy for Design in Karlsruhe, Germany, and Global Professor at New York University.

Titre:
Logic of the collection

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Résumé:
In modernity, the museum was the institution that made art accessible to the broader public. An artwork was collected if it was considered beautiful, passionate, engaged, or critical—and primarily if it was deemed historically relevant. But today, with the total availability and saturation of images, the museum has lost its privileged status as the exclusive place for the display of art. In our age of digital media, how does a particular artwork get selected for a museum collection? Which symbolic criteria must this artwork satisfy for it to obtain value? And in what ways does the institution of the museum remain relevant? 'Logic of the Collection' is framed by Boris Groys’s original and provocative proposition: an artwork is considered historically relevant if it fits the logic of the museum collection. In these critical essays, the philosopher and theorist of art and media analyzes the relationship between the logic of the collection and various modern ideologies. He reflects on the explosion of art production and distribution through the ascendency of digital media as well as the ways in which the accumulated artworks will be collected and preserved in the future, as the potential limits of public and private collections are reached.

Titre:
Philosophy of care

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Résumé:
The discussion of care has a long philosophical tradition. This book retraces some episodes in this tradition—beginning with Plato and ending with Alexander Bogdanov, having passed through Hegel, Heidegger, Bataille and many others. The central question is who the proper subject of care is? 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.