Politics without the imagination is bureaucracy, but the imagination is never a neutral category...

Even though the subject of this article, dealing with social and social media and our relationship with it in the past, now and in the future, might not appear relevant, disregarding the fact that such media have a strong artistic and aesthetic aspect partially dealt with through Boris Groys’ articles in the past, the aim of posting it is to become deeply aware of the relationship we all now have with this toy which has turned into a world in itself and how it immediately affect our life and out social relationships.

Tucked away behind the gleaming showcases of the Metropolitan Museum’s recently renovated Islamic art galleries, a smaller space hosts a handful of contemporary Iranian artworks. Parviz Tanavoli’s bronze Poet Turning Into Heech presides in phallic glory over a glittering constellation of familiar names: grande dames Shirin Neshat and Monir Farmanfarmaian and rising stars Ali Banisadr and Afruz Amighi are rounded out by Y.Z.Kami, a painter of quiet but steady repute...

In the 2005 Venice Biennale, Kyrgyzstan, Uzbekistan and Kazakhstan were represented for the first time in a shared Central Asia pavilion that presented a curious and seductive group exhibition entitled ‘A Contemporary Archive’. Several videos and installations included in the show conveyed a strange feeling of déjà vu, by reworking avant-garde forms of the 1970s and 1980s...

The supposed illusion caused by the end of the new in art goes hand in hand with a new promise to incorporate art into life. Artists and theoreticians wish to show themselves as being truly alive and real, in opposition to the abstract and defunct historical constructions represented by the museum system and the art market. But when and in what conditions does art appear as if it were alive and not as if it were dead?