Vita
Boris Groys, born 1947, is an internationally acclaimed art historian, philosopher and media theorist, with an exploratory focus on Russian avant-garde. He is professor of Russian and Slavic studies at the New York University and senior research fellow at the Karlsruhe University of Art and Design in Germany. Having studied Philosophy and Mathematics at the University of Leningrad, Groys immigrated to West Germany in 1981, where, after several scholarships, he became an Assistant Professor at the Philosophical Institute at the University of Münster in 1988. In 1992, Groys earned his Ph.D. in Philosophy. During 1994 and 2009, he worked as Professor of Aesthetics, Art History and Media Theory at the Center for Art and Media Technology in Karlsruhe. He held a research fellowship at the Center of Humanities at the University of Pittsburgh in 2010 and worked as Mellon Professor at the Courtauld Art Institute in London in 2011. Additionally, Groys is a permanent member of the Association internationale des critiques d art (AICA) and served as the curator and organizer of various international art exhibitions, such as the Russian Pavillon at the Venice Biennale in 2011.
Dated from 2013
Publications
Monographs
Einführung in die Anti-Philosophie. München: Carl Hanser Verlag, 2009. Die Kunst des Denkens. Hamburg: Fundus. Philo Fine Arts, 2008. Das kommunistische Postskriptum. Frankfurt a.M.: Suhrkamp, 2006. Topologie der Kunst. München: Carl Hanser Verlag, 2003. Unter Verdacht: Eine Phänomenologie der Medien. München: Carl Hanser Verlag, 2000. Gesamtkunstwerk Stalin: Die gespaltene Kultur in der Sowjetunion. München: Carl Hanser Verlag, 1988.
Edited Books
with Anne von der Heiden and Peter Weibel (eds.): Zurück aus der Zukunft: Osteuropäische Kulturen im Zeitalter des Postkommunismus. Frankfurt a.M.: Suhrkamp, 2005. with Aage Hansen-Löve (eds.): Am Nullpunkt: Positionen der russischen Avantgarde. Frankfurt a.M.: Suhrkamp, 2005.
Articles
Comrades of Time. In: Deborah Hauptmann and Warren Neidich (eds.): Cognitive Architecture. 0.10 Publishers: Rotterdam 2010, p. 90-99. Contemporary Art: Excessive Democracy. In: Catalogue of the exhibition "Project Europa: Imagining the (Im)Possible." Florida/ Gainesville: Samuel P. Harn Museum of Art, University of Florida, 2010, p. 17-24. Politics of Installation. In: E-Flux Journal reader. Sternberg Press 2009. A Genealogy of Participatory Art. In: Rudolf Frieling and Boris Groys (eds.): The Art of Participation: 1950 to Now. London: Thames and Hudson, 2008, p. 18-31. Critical Reflections. In: James Elkins and Michael Newman (eds.): The State of Art Criticism. London: Routledge, 2008, p. 61-70. The Curator as Iconoclast. In: Heather Kouris and Steven Rand (eds.): Cautionary Tales. Critical Curating. New York: Apexart, 2007, p. 46-55. The Fate of Art in the Age of Terror. In: Bruno Latour and Peter Weibel (eds.): Making Things Public. Atmospheres of Democracy. Cambridge/ London: MIT Press, 2005, p. 970-977.