Abstract
In his essay “On Art Activism” Boris Groys claims that current discussions about art are very much centered on the question of art activism. As opposed to the critical artist the art activist does not only want to criticize the condition of the arts or the social condition but want to change those conditions and its reality by means of art. Groys suggests that there is a split in the art practice to the two fields: art and design, in each the term aestheticization has a different meaning. In the field of design, it means making the thing or the tool better more beautiful, more pleasant, appealing, or seductive. While the meaning of aestheticization in “pure” art means the annulation of the practical applicability of a tool or a situation, and it is a revolutionary and radical act. What the artistic act is offering us as is a new revolutionary possibility: aestheticization as an act that annuls the “status quo”. In my study, I claim that in the history of Design and Architecture the radical and activist groups became marginal or disappeared. I try to understand what caused their disappearance and ask whether there is a possibility for a radical activism in the field of design to evolve in the near future. And if so, will it change the conditions and the status quo of the field by its own means and tools?
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