Suprematism

Form, colour, surface and process are the four main principles of Deb Covell's practice. To understand how they function in her work is to open a world of references and possibilities that are initially concealed by simplicity of form. The visual purity of Covell's paintings centre the artist and the viewer on the act of creation and the moment of encounter. Yet at the same time, these paintings connect the artist and the viewer with one hundred years of radical painting and sculpture. Looking at Covell's work from an art-historical point of view is to engage with the legacy of the most important and exhilarating art of the twentieth century. Through her black and white paintings Deb Covell probes the expressive possibilities of simple, monochrome shapes, asking her audience to bring only an open mind and open eyes.

These Pixelscapes were found within a photograph of Kazimir Malevich (Ukranian-born artist, 1878-1935) via magnification, filter treatment (halftone) and isolation of the pixel(s) in Photoshop. Malevich founded the art movement, Suprematism in Moscow, 1913 as a parallel to Constructivism. Suprematism ("supremacy of forms") is a study in abstraction conceived in itself ... non-objective and not related to anything except geometric shapes and colors ... and a precursor to Minimalism.

This thesis is dedicated to the work of the Russian Avant-Garde artist Ivan Albertovich Puni (1892-1956): an artist, a theorist and writer, an organizer of exhibition, a teacher of art, and above all, an innovator. This thesis presents an account of the artist's Berlin period (1920-1924), which has so far lacked scholarly attention.
The thesis begins with a close analysis of Puni's Russian period (1914-1919). In this time span, Ivan Puni demonstrated his ability to adopt a wide gamut of diverse artistic styles. Puni first elaborated works akin to Cubist constructions. However, starting from 1915, the artist became a major representative of the Russian avant-garde movement, also known as the Russian Futurist style. Puni organized the two Futurist exhibits in St. Petersburg (between 1915 and 1916) and co-signed the Suprematist Manifesto (1915) together with Kazimir Malevich. Until 1919, he himself presented ground-breaking Cubo-Futurist works (notably Window Cleaning, 1915), and above all elaborated a Suprematist redefinition of the object and the letter (based on the Russian concepts of zaum and faktura). At the same time, Puni had been putting to the test the Suprematist definition of the traditional representational still life.
Those features of his art would subsequently become important in Berlin, where Puni and his wife moved to in autumn 1920 due to the deteriorating political situation in the budding USSR. Whereas the Berlin period has not previously been examined closely, this thesis argues that it was a critical period, leading Puni to synthesize Russian avant-garde styles with Western art practice. Puni’s exhibition of Dada-like works at the gallery Der Sturm in February 1921 consisted of works conceived in Russia, many recreated, or reassembled according to new artistic parameters. The exhibition largely consisted of a ‘happening’ and had absorbed major aspects of Dadaism. Most remarkably, within his painting The Synthetic Musician (1921-1922), Puni then managed to epitomize his development as an artist and his contesting of non-objective art. Puni’s book Современная Живопись [Sovremennaya Zhivopis’ or Contemporary Art], published in Berlin in 1923, explains at length his rejection of non-objective art and his first preference for Cubist construction, which combined with single, selected elements (such as factura), led him to coin a new term: Constructive Naturalism.
In sum, this thesis hopes to demonstrate the originality and abiding intellectual value of Puni’s works during his Berlin period.

Este texto revisa el desarrollo de la gráfica del artista y diseñador ruso Lazar Markovich Lissitzky, en relación a la vanguardia del grabadismo y sus antecedentes en el constructivismo y el suprematismo  . Entre las aportaciones discutidas destacan el rechazo a la figuración a favor de la geometrización, la transición a la fotolitografía y las experimentaciones tipográficas durante la época de la "faktura".

N Este artículo examina la estética suprematista en relación
con teorías políticas contemporáneas sobre la revolución y la transformación
social. El punto de partida del suprematismo es la destrucción de la realidad
objetiva como acto liberador. Aunque diversos autores contemporáneos del
campo de la teoría política conciben el arte tcomo producción de sentimientos
que actúan como puntos de partida de la acción y el compromiso. Ambas
perspectivas se entrelazan en el concepto de ‘revolución’: la liberación de la
representación totalitaria y la creación de una nueva sociedad.

Kapitalizmin doğumundan günümüze kadar uzanan sürede mimarlık ve sanat yeni bir düşüncenin arayışındadır. Yaşamın sürekli yenilenmesi var olan nesnelliği sürekli yeniden biçimlendirmektedir. Bu değişim kapitalizmi ve içindeki bireyler için bir varoluş mücadelesine hapsetmiştir. Ancak 20. yüzyıl başında Ekim devrimi ve Rus avangartları ile bunun dışında bir yaşam farklı bir yenilik arayışı kendini ortaya koyabilmiştir. Rus avangartlarının anlatılmayan mirası 20. yy mimari ve sanatını büyük oranda etkilemiştir. Kapitalist modernitenin hala ilerici olduğu dönemde Rus avangardı Bauhaus ve Le Corbusier'i etkilemiştir. Kapitalizmin en saldırgan olduğu neoliberalizm döneminde ise çığır açan mimarlar olarak tanınan Zaha Hadid, Frank Gehry, Rem Koolhaas gibi mimarlar aslında Rus Avangartlarının kesintiye uğramış mirasının üzerine doğmuşlardır. Bu etki zaten hem kendilerince hem de mimarlık tarihçilerince kabul edilmiş bir gerçektir. Ama eksik olan iki akımın da devrimci ve avangart tutumlarıyla ortaklaştıklarının birbirlerini takip ettikleri iddiasıdır. Rus Avangardı ile dekonstrüktivistler arasında önemli bir fark vardır: ilki gerçekten anlamı parçalayıp, hayatı değiştirmeyi denerken diğerleri formu parçalamaktan öteye gidememiştir. Metinde Rus avangardı ve eserlerinin anlamı ve pratiği Hegelyan ve Marksist okuma temelli değerlendirilecek sonrasında ise dekonstrüktivistler üzerinden kısa bir karşılaştırma yapılacaktır.

The Russian Avant-Garde can be expressed in one word: unique. However, this “uniqueness” is what set it, as a whole, apart from all other forms of art because it became its own artistic revolution. It completely stripped away artistic form to create a sense of oneness, of being complete and spiritual in an entirely new way that art had never been viewed or portrayed before. Thanks to the combined efforts of Kruchenykh, Malevich, Matyushin, and even Mayakovsky, they created Victory Over the Sun, which is considered to be the most influential of multiple Russian futurist operas that existed at the beginning of the 20th century. This opera helped fuel artists into thinking outside of the box, being completely different and unique in their approaches, and with going against the grain (or brushstroke) in terms of how the fine arts were viewed and depicted. Through Victory Over the Sun’s unique makeup and composition, it helped to inspire and influence an entirely new way of thinking in terms of fine arts and with opening new doors during an already complicated artistic era; it became essential to reject the old, favor the new, embrace a different sense of spirituality, and start an artistic revolution.

In the year 2015, a discovery shook the artworld. After an x-rays analysis, two other images and an inscription were found under “Black Square,” Kazimir Malevich’s iconic painting. The largest “crack” on the already cracked painting suddenly opened after the following words in Russian appeared: Битва негров в темной пещере глубокой ночью, roughly translated as Negroes battling in a dark cave at deep night. How are we to even begin to interpret this “zero point of painting,” for many the avant-garde masterpiece? Is there anyone who would laugh today at this “joke” and are we too quick to dismiss Malevich as yet another racist?

During the years of Suprematism, between 1919 and 1923 in Russia, one of the movement's most significant contributors, architect, artist and designer El Lissitzky developed a series of works which he entitled "Prouns," a name the exact meaning of which El Lissitzky never fully revealed, although he later described the purpose of his creations as interchange stations from painting to architecture, i.e., from two dimensional to three dimensional visuality. The author has re-created El Lissitzky's "Proun #5A" from 1919 in the metaverse, as an architecture for avatars. The process in which the translation from analogue drawing to three dimensional digital artifact was undertaken, the challenges encountered during its re-building; framed within a literature review that examines both El Lissitzky's influence on contemporary cyber-architecture, as well as the significance of his spatial investigations and his sources of inspiration during the early decades of the twentieth century will form the contents of this text.

В ряду публикаций о строительстве, вышедших в конце 1920-х — начале 1930-х, «Реконструкция архитектуры…» занимает особое место. Книги Леонида Сабсовича о городах будущего задавали политический контекст, драматизируя различия между городами, строящимися на принципах обобществленного труда, и городами, призванными обеспечивать циркуляцию частного капитала76. «Жилище» Моисея Гинзбурга пыталось определить функциональные закономерности разнообразных архитектурных форм и строительных экспериментов. В свою очередь, работа Николая Милютина о соцгороде помещала дискуссию о раннесоветском урбанизме в рамки международных дебатов о путях развития архитектуры.

Книга Лисицкого адресовалась зарубежной аудитории и, в отличие от перечисленных работ, была призвана не столько убедить в правильности той или иной версии урбанизма, сколько обозначить спектр сложившихся тенденций.

«Реконструкция архитектуры…», предложила читателю «вестник техники, прейскурант новых вещей, и чертежи вещей еще не осуществленных», которые когда-то обещал журнал «Вещь — Gegenstand — Objet». В отличие от более ранних немецких статей Лисицкого об архитектуре, полемично заявлявших, что «…современной архитектуры в России <…> не существует»74, «Реконструкция архитектуры…» утверждала новое, наглядно показывая и доходчиво объясняя, как и где происходит процесс радикальной трансформации материальной и социальной жизни нового общества.

Abstraction is a concept that promotes evoking inner feelings and emotions rather than replicating the apparent reality. The idea of Abstraction can be best seen through Art, right from the prehistoric times when humans drew on walls with a depiction of forms with minimum and simplified sources. Each abstract style has an era dedicated to different methods through which the desired abstraction could be achieved. This research aims at understanding the concept of Abstraction through art movements, exploring their various styles and techniques. It focuses on finding out different approaches by which Abstraction can be incorporated in architecture through space and form. The use of gestures and movement patterns could be seen both in ‘art on canvases, and in ‘architecture through spatial elements’ – line, color, texture, shape, and form, with the equivalent motive of creating a personal and evoking user experience rich in emotions for them to relate to it. In making a space more expres...

Kazimir Malevich and the Russian Avant-Garde
Museo Stedelijk de Ámsterdam (del 19 de octubre de 2013 al 2 de febrero de 2014) Bundeskunsthalle de
Bonn (del 11 de marzo de 2014 al 22 de junio de 2014) Tate Modern de Londres (del 17 de julio de 2014
al 26 de octubre de 2014)
Kazimir Malevich. Before and after the Square
Museo Ruso de San Petersburgo (del 5 de diciembre de 2013 al 3 de febrero de 2014)
Aleksandra Shatskikh
Black Square: Malevich and the Origins of Suprematism
New Haven, Yale University Press, 2013. 346 pp. 29,37 €
Yevguenia Petrova (ed.)
Kazimir Malevich Before and After the Square
San Petersburgo, Palace Editions, Russian Museum, 2013 167 pp. 30 €
Geurt Imanse y Frank van Lamoen (eds.)
Russian Avant-Garde. The Khardzhiev Collection
Róterdam, nai010 Publishers, 2013 552 pp. 49,50 €

Özet

Üstün, yüce anlamına gelen Latince supreme sözcüğünden türetilmiş bir kavram ve soyut geometrik bir resim üslubu olan Süprematizmin yaratıcısı Rus ressam Kazimir Maleviç (1878-1935) süprematizmin keşfi öncesi 1910-1912 yıllarında, Rus kültürünün özüne dönme gayreti ile Rus ikona sanatından ödünç aldığı derinliğin azalması, zemin figür birleşmesine eğilim ve tek kaçış noktasının bulunmayışı gibi özellikleri Rus köylü sanatının figürde stilizasyon, aşırı iri beden ve uzuv betimlemesi gibi özellikleriyle, Cézanne’a benzerı bir düzlem anlayışı ve fovist bir renk seçimi ile harmanlayarak. Yeni-primitivist bir resim üslubu oluşturmuştur. Süprematizm kuramsal olarak temelin, üç boyutluluk temeline oturan Eukleides geometrisine karşıt olarak geliştirilmiş bir modern
geometrik disiplin olan projektif geometriden türetilen, Hinton’ın dördüncü boyut ve metageometri kavramında bulmaktadır. Süprematizm üç boyutlu dünyayı dört boyutlu olanın bir kesiti olarak gören ve evrenin eğriliğinden yola çıkan metageometrinin ilkelerini ve maddenin saf enerji olduğu, bu nedenle hareketin maddenin en içkin özelliği olduğu düşüncesini, uzaysal gerçekliğin anahtarı olarak ele aldığı ve onun göstergesi olan hareket unsurunu, geometrik Süprematist motiflerin uzayı
simgeleyen beyaz zemin üzerinde yaptıkları süzülme etkisi ile ifade etmektedir. Süprematizm Maleviç’in çağdaşı olan Florenski’nin tersten perspektif kuramı, doğrusal perspektifin ancak Eukleides uzayı ile bağlantılı bir uzam anlayışında mümkün olacağı görüşünü ortaya koymaktadır. Florenski’ye göre doğrusal perspektif doğanın-evrenin gerçekliği ile bağlantısı olmayan, resim sanatının ifade etme ihtiyacında olduğu hakikatle bir ilişkisi bulunmayan bir biçim unsurudur. Florenski’nin bu yaklaşımı Maleviç’iYeni-primitivist eserlerinden, Cézanne’nın figür ile yüzeyi birleştirmesine, Süprematizm öncesi denemelerine giriştiği Kübo-fütürist zamansallığa ve çok parçalı
lığa ve oradan da Süprematizme taşıyan köprü olarak görülebilir.

Anahtar Kelimeler: Yeni-primitivizm, tersten perspektif, dördüncü boyut, Süprematizm, metageometri.
Extended abstract
The study aims to focus on the relationship between reverse perspective and metageometry as a bridge, which carries Malevich art from neo-primitivism to
suprematism. The main sources of the study consist of three different kinds of writings.  The first group consists of Malevich’s own theoretical writings.
Since Malevich based his ideas about fourth dimension and spatial reality on Ouspensky’s work, the second main source is Ouspensky’s Tertium Or
ganum. The third main source is Florensky’s Reverse Perspective. Because his ideas about reverse perspective in painting establish a connection between icon painting and non-Euclidean space concept and creates a conceptual link between Malevich’s neo-primitivism and suprematism. Railing’s book is also a important source, for it shed a light on metageometrical space concept and its connection with suprematism.
At the beginning of second decade of 20th. century Russian painter Kasimir Malevich (1878-1935) was uncomfortable with cultural hegemony of Western artistic and intellectual world on Russian cultural life. Then he shared the idea to turn back elementary values of Russian culture, thus he painted several neo-primitivist canvases between 1910-1912. In these canvases he created a synthesis of Russian folk
art, peasant art and icon art with several modern western art movements to achieve this aim. He carried reverse perspective, i.e. a reduction of spatial depth, multi-directional structure and point of view from icon painting, and almond shaped eyes, gigantic hands and feet and stylized figures from peasant art to his neo-primitivist paintings.  In these paintings, it is also possible to identify Cezannesque spatial figure ground relationship, fauvist color choice and primitivist attitude which he borrowed from Gauguin as well. 
Suprematism is geometric abstract painting style which is created by Malevich. This term which Malevich derived from Latin word “supreme”, means the highest or most sublime. With this term he aims to imply several meanings. Since suprematism aims
to realize and reveal cosmic reality, it can’t be related with an earthly perception, so it is connected to the “supreme”. Secondly this abstract art style rejects naturalistic, mimetic painting style and wants to give its autonomy back to the painting. In this way
it uses most minimalized color and form elements: basic geometrical forms, pure colors and monochromatic canvases. Because of its demand for autonomy it has a “supreme” quality. Malevich created kubo-futurist and “alogical” paintings to declare his anti-naturalist art conception during his pre-suprematist period. This rejection paves the way for a non-objective, non-figurative geometrical abstraction. Malevich intends to express a superreality conception which base on cosmic relations, on matter as pure energy, on the fourth dimension and on movement as the most inherent quality of
matter, instead of geo-centric and traditional conception of reality. In this case he gets his strongest support by Hinton’s fourth dimension and metageometry concepts which he got acquaintance through Tertium Organum by Ouspensky.  Hinton’s metageometry derives from projective geometry, which is developed against Eucleidean geometry that based on three dimension. Principle Of metageometry regards the three dimensional world as a cross section of the four dimensional one and it bases on the curvature of the universe. In this curved universe Eucleidean postulats are invalid, since Eucleidean geometry bases on flat space assumption.
In fourth dimensional reality, time and movement are’nt sequent but inherent in matter. In his suprematist painting Malevich expresses this “inherent time and movement” concept with the flowing effect which suprematist motives created on the white sur
face of the canvas, which also symbolizes the space, expresses the movement element as the sign of the fourth dimension, which Malevich regarded as the
key of the cosmic-spatial reality. Florensky’s argument on reverse perspective  accepts the linear perspective as connected to the Eucleidean geometry and the concept of flat space. Then, according to Florensky, linear perspective can’t be an instrument
of painting as pure art, which is in the pursuit of the truth. Consequently Florensky’s argument provides a conceptual connection between Malevich’s neoprimitivist paintings and suprematist works.

Keywords: Neoprimitivism, reverse perspective,
fourth dimension, Suprematism, Metageometry.

As it relates to the Ukraine-Russia War (2022), Vladimir Putin (President of Russia), the United States and NATO have destroyed Tom R. Chambers’ working relationships with artists and curators in Russia re: Suprematism. This makes him angry.

Artists throughout the millennia (plus) have been under the influence of a power base. Contemptibility in society coupled with political insensitivity quells the creative spirit.

Цель статьи-проследить четкую линию преемственности от иконы к абстракции русского Авангарда. Линия восточнохристианского (а точнее, поздневизантийского и русского понимания образа) была прочерчена: от богословия Григория Паламы к Феофану Греку, через служение Сергия Радонежского к Андрею Рублеву, далее-к авангардистам Михаилу Ларионову, Казимиру Малевичу, философу Павлу Флоренскому и другим. Эту линию условно можно назвать катафатической, ибо она связана с отличным от западной теории образа пониманием присутствия Бога. Мы показали, что западное понимание образа связано с понятием отсутствия на примере французской феноменологии. Метафизический реализм является исходной точкой развития линии русского искусства. Понимание этой линии от иконы к авангарду поможет объяснить основы художников-авангардистов, получившие отражение в их картинах, манифестах и теории. В этом ракурсе мы рассматриваем лучизм Ларионова и теорию супрематизм Малевича. Ключевые слова: икона, русский авангард The goal of this article-to draw a strict line of succession from icon to abstractionism of Russian Avaunt-Guard. The line of East-Christian (Late-Byzantine and Russian understanding of Image) was drawn: from theology of Gregory Palamas to Theophanes the Greek, through the spiritual practice of St. Sergius of Radonezh to Andrey Rublev and further-to avaunt-guard painters Michail Larionov and Kasimir Malevich, philosopher Pavel Florensky and others. This line can be named as cataphatic, as it is connected with distinct from Western theory of image understanding of the Presence of God. It had been shown on the works of French Phenomenologists, that Western image is connected with the concept of absence, or distance. Metaphysical Realism is the starting point of the development of Russian Art. Understanding of this line from icon to avaunt-guard will help to describe basis of avant-garde painters, which has its representation in paintings, manifests and theory. We are considering Larionov's rayism and Malevich's suprematism in this view.

The text analyzes the design of the Belgrade fashion designer Aleksandra Ranković, who works within her studio Studio AR, finding in it a parallel with the philosophy of functionalism in architecture and the economy of Suprematism, an artistic movement from the beginning of the 20th century. This philosophy and economy are then considered within today’s post-functionalist, a hi-tech society that is likely to turn to simpler and more natural concepts in the future as more environmentally friendly. Good in fashion is identified with beautiful. The term "good design" created in modernism is analyzed by equating the terms good - useful. Part of the text deals with the economy as the fifth dimension of art, according to the Russian painter Kazimir Malevich - his theory of Suprematism.
...............................................
Aleksandra Ranković is a fashion designer, costume designer, and artist who has been working continuously in Belgrade since the mid-90s. As a costume designer, she has worked for advertising agencies, film, TV, theater, pop-rock groups, singers and their TV spots, as well as with other public figures and children, and has collaborated with several NGOs on various projects, festivals, workshops, and performed as an actress and independent artist-performer. She has exhibited fashion collections within her own studio - Studio AR, dozens of times in the best Belgrade galleries, at fashion shows in groups, and independently in the country and abroad, as well as in America.

Tom R. Chambers is a documentary photographer and visual artist, and he is currently working with the pixel as Minimalist Art ("Pixelscapes") and Kazimir Malevich's "Black Square" ("Black Square Interpretations"). He has over 100 exhibitions to his credit. His "My Dear Malevich" project has received international acclaim, and it was shown as a part of the "Suprematism Infinity: Reflections, Interpretations, Explorations" exhibition in conjunction with the "100 Years of Suprematism" conference at Columbia University, New York City (2015).

Kantçı “Aesthesis”in Sınırlarına Bir Eleştiri Olarak Maleviç’in
Süprematizmi
Kant (1724-1804) “aesthesis” kavramını Yunanca aslına, “algılamak” anlamına geri taşır ve bu kavramı insanın evren ve bilme karşısında temel konumunu belirleyen bir kavram olarak kullanır. Kant argümanının kaynaklarını Newtoncu evren anlayışından alır ve insanın bilme yetisini “aesthesis”in koşullarıyla, yani yer-merkezli, Newtoncu, Eukleidesçi zaman ve uzam kavrayışı ile sınırlandırır. Maleviç’in süprematizmi ise onun,
Eukleides-dışı geometrilere dayanan kendi evren, yani zaman ve uzam anlayışını yansıtır ve “aesthesis”in sınırlarını aşarak, yani Kantçı sınırları aşarak bilmenin bir yolu olarak düşünülebilecek olan “saf-duyum” kavramını temel alır. Şu halde onun süprematist resimleri ve manifestoları, Kant’ın insanın evrendeki bilme potansiyelini duyusal algısıyla, “aesthesis”in koşulları ile sınırlandıran bakış açısının bir eleştirisi, onu bir değilleme girişimi olarak değerlendirilebilir.
Anahtar Sözcükler: Kantçı uzay-zaman, Eukleides-dışı geometri, süprematizm, dört boyutlu gerçeklik, projektif geometri.

Suprematism as a Critique of the Borders of Kantian ‘Aesthesis’

Kant takes the term “aesthesis” back to the original meaning in Greek, which means “to
perceive”. He uses it as a concept, which determines the position of human being against the universe and the act of knowing. He takes origins of his argument from Newtonian conception of universe and he limits man’s ability to know, with the conditions of “aesthesis”, in other words with the geo-centric, Newtonian, Euclidean conception of time and space. Malevich’s suprematism mirrors his own conception of universe, i.e. time and space, and bases on Noneuclidean geometries and on the concept of “pure –sensation”, which can be thought as a way to know beyond limits of aesthesis, which is beyond Kantian limits. So his suprematist paintings and manifests can be evaluated as a critique of Kantian point of view, which limits potentiality of human being in universe with his sense-perception, with the conditions of aesthesis.

Keywords:  Kantian time- space, non-euclidean geometry, Suprematism, four dimensional
reality, projective geometry

Tom R. Chambers put together this support piece for the Ukrainian people based on his "My Dear Malevich" project:

http://tomrchambers.com/malevich.html

and the country's flag.

Kazimir Malevich, founder of the Suprematism art movement, was born (Polish descent) in Kyiv, Ukraine.

Chambers superimposed several of the art pieces from the project onto the geometric pattern (two equally sized horizontal bands of blue and yellow) of the flag. The pieces are blended into the color fields to indicate solidarity.

During the latter part of 2000, Tom R. Chambers began to look at the pixel within the context of Abstractionism and Minimalism. He used his self-portrait as a testing ground to begin to equate the pixel with the works of non-objective artists like Vasily Kandinsky, Barnett Newman, Mark Rothko, Ad Reinhardt, Kazimir Malevich, Piet Mondrian and others. They generated works to establish an abstract visual language of the sublime, pure color, geometric form, deep contemplation and metaphysical pursuit of the truth.

Tom R. Chambers is a Texan with a “Russian, Suprematist soul”. He has repeatedly introduced the modern trend of new media art to the masses. He has brought Minimalism to the pixel. In 2000, Chambers began to look at the pixel in the context of Abstraction and Minimalism. And he is currently working with interpretations of Kazimir Malevich’s “Black Square” and other Suprematist forms.

Simpozij ob 140. obletnici rojstva Kazimira Maleviča, ki je potekal 18. in 19. maja 2018 v prostorih konzorcija Osmo/za v Ljubljani, je pod krovnim nazivom Svet kot brezpredmetnost odprl prostor za tematiziranje dela Kazimira Maleviča in njegovega koncepta brezpredmetnosti. Dogodek je bil osnovan na treh povezavah med Ljubljano, Beogradom in Moskvo: znanstveni, umetniški in kulturno-diplomatski. Znanstveni del sta zastopali dve akademski instituciji, ki sta bili tudi glavni organizatorici dogodka – Filozofska fakulteta Univerze v Ljubljani in Filološka fakulteta Univerze v Beogradu oz. njuna Oddelka za slavistiko. Simpozij je bil razdeljen na štiri tematske panele, poimenovane »Nič«, »Supraslike«, »Sodobnost« in »Kozmos«, s skupno petnajstimi referati. Izjemno zanimanje za dvodnevno dogajanje ter širina in sodobnost vprašanj, ki jih nagovarjajo zbrani prispevki v pričujočem zborniku, kažejo na nedvomno relevantnost umetniškega in teoretičnega dela Kazimira Maleviča tudi v današnjem času. Prav tako pa na novo potrjujejo pomembnost preučevanja form in metod modernistične umetnosti, ki se je vzpostavila na začetku prejšnjega stoletja.

CONTENTS

Uvod v temo Svet kot brezpredmetnost. 140 let od rojstva Kazimira Maleviča
At the Intersection of Art and Outer Space: The World as Objectlessness.
140 years since the birth of Kazimir Malevich
❦ Blaž Šef, Kristina Pranjić

SCIENTIFIC PAPERS
Ekonomija kao peta dimenzija: Dijalog Maljeviča s Marksom
Economy as the Fifth Dimension: Malevich’s Dialogue with Marx
❦ Kornelija Ičin

Čistka kultur? Seveda. Tako kot njihovo svinjanje
Purge of Cultures? Of Course. Same as Dirtying Them
❦ Miha Javornik

Brezpredmetnost in ekonomičnost v poeziji
Objectlessness and Economy in Poetry
❦ Kristina Pranjić

Črno na belem, nihilizem brezpredmetnosti
Black on White, Nihilism of Non-Objectivity
❦ Iztok Osojnik

»Skrivnost« Črnega kvadrata: obrnjena perspektiva
The “Mystery” of the Black Square: Reverse Perspective
❦ Bojan Anđelković

Kvantna paradigma in njen spiritualni odsev:
Ultimativna umetnost Kazimira Maleviča
Quantum Paradigm and Its Spiritual Resemblance:
The Ultimate Art of Kazimir Malevich
❦ Dunja Kukovec

Abstrakcija in brezpredmetnost pri Maleviču in Kosovelu
Abstraction and Objectlessness in Malevich’s and Kosovel’s Work
❦ Janez Vrečko

NSK, IRWIN in Malevič
NSK, IRWIN and Malevich
❦ Lela Anglea Mršek Bajda

Suprematizam i nacsuprematizam: Maljevič vs. Peperštejn
Suprematism and Natsuprematism: Malevich vs. Pepperstein
❦ Jelena Kusovac

Brezpredmetnost Malevičevega in brezsvetnostnost
Reinhardtovega črnega kvadrata
The Nonobjectivity of Malevich’s and The Wordlilessness of Reinhardt’s Black Square
❦ Rebeka Vidrih

Svet in nič: od Albertija k Maleviču
The World and Nothing: From Alberti to Malevich
❦ Marko Jenko

Minimalna razlika, prehod in umetnina
Minimal Difference, Passage and Artwork
❦ Magdalena Germek, Slađana Mitrović

ESSAYS
Ejdologike Kazimira Maljeviča
Eidologies of Kazimir Malevich
❦ Vladmir Medenica

Suprematizem in sodobna kozmonavtika
Suprematism and Modern Cosmonautics
❦ Miha Turšič

Беспредметные ресурсы планеты на примере собственных
произведений
Non-Objective Planetary Resources through the Example of Author’s Own Works
❦ Lenore Linza (Линор Линза)

TRANSLATION
Suprematizem. 34 risb
Suprematism. 34 Drawings (Slovene Translation)
❦ Kazimir Malevič

The paper seeks to look at the art of Suprematist painter Kazimir Malevich in the context of the Russain avant garde as well as the Revolution. it attempts to address the question of the revolutionary potential of art and the dialectic between abstraction and materiality in this context.

ΑΝΑΓΝΩΣΕΙΣ 2 Είναι βάσιμο να υποστηριχτεί ότι κάποιοι καλλιτέχνες συνεχίζουν να δρουν κάτω από τον αριστερισμό του Malevich; Τι μπορεί να σημαίνει αυτό πέρα από μια πιθανή ε-ξιδανικευμένη ανάγνωση της άρνησης του τέλους μιας ιστο-ρίας της νεωτερικότητας; Η τέχνη του Malevich και η συνειδητή του απόκλιση από τις «προπαγανδιστικές» εκτροπές των συναδέλφων του στη ρω-σική πρωτοπορία χρησιμεύει και σήμερα ως ένα σημείο ανα-φοράς σε καλλιτέχνες που δεν ακολουθούν τις σειρήνες της ε-πικαιρότητας. Μια μεταμαλεβιτσική λογική μπορεί να ανι-χνευθεί και στον ελλαδικό χώρο και, συγκεκριμένα, στο έργο του Τάκη, της Ρένας Παπασπύρου, του Άγγελου Σκούρτη, του Γιάννη Παπαδόπουλου, της Λητώς Κάττου και της Ευγενίας Αποστόλου, με πολύ διαφορετικό κάθε φορά τρόπο, στην ίδια ωστόσο γραμμή της συνειδητής απόκλισης από τη γλώσσα του σουπρεματισμού. Ο Malevich μπορεί να χρησιμοποιηθεί ως ένα παράδειγμα που ενισχύει τον συνδετικό κρίκο με το προνεωτερικό Βυζά-ντιο, ώστε και οι πιο ερμητικές αποφάνσεις της ελληνικής πρωτοπορίας να μην φαντάζουν απαραίτητα ξεκομμένες α-πό το διάλογο με τον ίδιο τον ελληνισμό και την επέκτασή του «προς ανατολάς». Ωστόσο, δεν πρέπει να στηριζόμαστε τόσο στην επίδραση της βυζαντινής αγιογραφίας στο έργο του Malevich. Ο Malevich πάνω από όλα υπήρξε ένας πολωνικής καταγωγής καθολικός ριζοσπάστης διανοούμενος που ανα-νέωσε αλλά και αποδόμησε συνειδητά την ορθόδοξη παρά-δοση. Επιπλέον, ο τρόπος που η βυζαντινή εικονογραφία επηρέα-σε τον Malevich δεν είναι ο ίδιος που επέδρασε στους νεότε-ρους Έλληνες. Όμως, οι διαφορετικοί τρόποι αντίληψης και κατανόησης του θείου στην εκκοσμίκευσή του ενεργοποιούν σε μεγάλο βαθμό το σουπρεματιστικό όραμα. Από αυτήν την άποψη, εάν θέλουμε να μιλήσουμε για μια επίδραση που φέ-ρει ο Ρώσος πρωτοπόρος θα μνημονεύαμε εκείνες τις περι-πτώσεις όπου η ιερότητα της βυζαντινής εικόνας αμφισβη-τείται και τα περιττά της στοιχεία αφαιρούνται συνειδητά. Ό-λα αυτά οφείλουμε να τα εισπράξουμε στο ιστορικό πλαίσιο μιας νέας πίστης που σχετίζεται με τις διακηρύξεις ενός επι-θετικού μοντερνισμού και αφορά ιστορικά την Οκτωβριανή Επανάσταση όπως και την οργανωμένη μετατροπή της ορ-θόδοξης Ρωσίας σε μια αντιθρησκευτική Σοβιετική Ένωση. Σε αυτό το σημείο θα είχε ενδιαφέρον να χαράξουμε μια σύ-ντομη παράλληλη διαδρομή στον ελληνικό χώρο που μαρτυ-ρά την αντιπαράθεση ανάμεσα στο κυρίαρχο θρησκευτικό λό-γο και τις αιρέσεις του. Γύρω στο 1830 και μέσα στο ιστορικό περίγραμμα μιας κουλτούρας του διαφωτισμού, το «απειρο-τατικόν» ήταν μια από τις έννοιες που χρησιμοποιούσε ο αι-ρετικός διδάσκαλος του γένους Θεόφιλος Καΐρης (1784-1853) για να προσδιορίσει την θεωρία της «θεοσέβειας». Οι θέσεις του Καΐρη μπορούν να προσληφθούν ως μια μορφή αντίστασης α-πέναντι στο ιεροκρατικό περιβάλλον του νεοσύστατου Ελλη-νικού κράτους i. Θεωρώ ότι το «απειροτατικόν» δεν διαφέρει ρι-ζικά ως έννοια από την προτροπή του Malevich για το άπει-ρο και την έμπρακτη δυνατότητα του ανθρώπου να τείνει προς το άπειρο και το απόλυτο χωρίς την επέμβαση του θείου ii. Εν ολίγοις, ο Καΐρης ως ένας οικουμενικός διαφωτιστής ενθαρ-ρύνει την πίστη στη μεταβολή της ανθρώπινης φύσης που εκ-φέρεται μέσω της σχέσης του υποκειμένου με το σύμπαν. Οι θέσεις του μαρτυρούν την φιλοδοξία της σχηματοποίησης ε-νός οικουμενικού ορθού λόγου που θα αντιμάχεται τον ορθό-δοξο κανόνα με την πρόσληψη και την απορρόφηση των στοι-χείων που πολεμά. Αντίστοιχα, ο Μάλεβιτς ασκεί μιαν επα-ναλαμβανόμενη αντικληρική κριτική σε όλες του σχεδόν τις δη-μοσιεύσεις και τα μανιφέστα του σουπρεματισμού, αλλά μάλ-λον ενισχύοντας με ένα περίεργο τρόπο την πνευματική διά-σταση της ορθοδοξίας. Είναι και αυτό ένα σημάδι μιας κατεύ-θυνσης του διαφωτισμού, το οποίο συναντάμε στο Rousseau και το κοινωνικό του συμβόλαιο ή στους σαινσιμονιστές, τη δυ-νατότητα δηλαδή να σκεφτούμε με διαφορετικούς όρους τη θρησκευτικότητα. Προσεγγίσεις που ανταποκρίνονται σε αυτό το κάλεσμα έ-τυχε να συναντήσω πρόσφατα σε κάποιες εκθέσεις που φαί-νεται να κινούνται κάτω από τον αστερισμό του Malevich. Οι εκθέσεις του Δημήτρη Φουτρη B is everything you can imagine form the material world στην γκαλερί Ιλεάνα Τούντα και του Πάνου Τσαγκάρη Time στη γκαλερί Kαλφαγιάν συνεισφέρουν σε μια διευρυμένη ή διαφορετική ματιά σε ό,τι αφορά το μα-λεβίτσικο τρόπο ανάγνωσης, άλλες φορές περισσότερο υπό-γεια και άλλες ως μια επεξεργασμένη πηγή αναφοράς. Στην έκθεση του Δημήτρη Φουτρή παρουσιάστηκαν φωτο-γραφίες και κατασκευές, οι οποίες αξιοποίησαν στο μέγιστο το κενό του χώρου, έτσι ώστε τόσο το έργο όσο και ο χώρος που εκτίθεται να είναι ισότιμα υπολογίσιμα στην τελική πρόσλη-ψη. Δεν είναι τυχαίο ότι στο σύνολο της έκθεσης κυριαρχεί το λευκό, το διαφανές του γυαλιού και το λευκό του φωτογραφι-κού τυπώματος. Ασφαλώς, αυτή η τάση φυγής μπορεί να πε-ριγράφει και με άλλες αναφορές όπως, για παράδειγμα, το ρο-μαντισμό. Όμως η προσωπική εκκίνηση του Φουτρή σχετίζε-ται και με την καθημερινή σπουδή και την εφαρμογή της α-γιογραφίας, που καθιστά το σενάριο της βυζαντινής επιρροής αναγνωρίσιμο. Στην έκθεση του Πάνου Τσαγκάρη οι μαύρες και πιο ελα-φριές σκιές στο μαύρο φόντο των τυπωμάτων του αναπαρά-γουν ένα κενό χώρο, του οποίου η αντιστοιχία βρίσκεται στο τεκτονικό συμβολισμό. Η γεωμετρική παράδοση από την ο-ποία εμπνέεται ο Τσαγκάρης φέρει συγγένειες τόσο υφολογι-κές όσο και εννοιολογικές με το κυβοφουτουρισμό και το σου-πρεματισμό. Επιπλέον, δημιουργεί εικόνες με τη θρησκευτική σημασία της λέξης μέσα από τη μεταμορφωτική διαδικασία που υπονοεί η τοποθέτηση των σχημάτων και που μπορούν να ε-νταχθούν ιστορικά στην εποχή του Μάλεβιτς, στις ιδέες για την κοσμική συνείδηση του Ρώσου μαθηματικού Piotr D. Ouspensky ή τη διδασκαλία αλλά και τις εργαστηριακές ανα-ζητήσεις των θεοσοφιστών για την υπερβατική φύση του αν-θρώπου. Ίσως, αν υπάρχει μια μεταμαλεβίτσικη γενιά να είναι εκεί-νη η οποία διατηρεί την επαφή με την αναπαράσταση και ε-πεξεργάζεται ή επεκτείνει κάποιες αρχές της iii. Σε αυτό το ση-μείο η ευλαβική αποδοχή του απείρου δεν αντιστοιχεί στον τρέχοντα υλικό μηδενισμό αλλά μπορεί να συγκριθεί με το ά-νοιγμα στη μυστικιστική γνώση του μηδενός με την «εξω-χρονική αντίληψη των καθαρών μορφών, την αυλή ανύψωση (κάθετος δυναμισμός, αέρινος), την απόλυτη υπερβατικότητα από κάθε άλλο νοηματικό σύστημα» iv. Ο μηδενισμός δεν εί-ναι αναγκαία καταστροφικός, νετσαγιεφικός. Μάλλον το α-ντίθετο συμβαίνει: είναι απελευθερωτικός και μεταμορφωτι-κός, αφορά την κοσμική ολότητα την οποία το υποκείμενο κα-λείται να κατακτήσει v. Όμως, ακόμη και αν όλα αυτά προσφέ-ρουν τη δυνατότητα της διάσωσης της θρησκευτικότητας, νο-μίζω ότι έχει έρθει ο καιρός να αποδυναμώσουμε κάποιες βε-βαιότητες με τις οποίες ερμηνεύουμε το μαλεβιτσικό έργο εντός του ορίζοντα της χριστιανικής εικονογραφίας. Εάν ο Μάλεβιτς κατορθώνει να είναι επιδραστικός σε παρά πάνω από μία σχολές της σύγχρονης εικαστικής παραγωγής, θα ήταν καλό να μην αφεθούμε ολοκληρωτικά στη γοητεία της μεταφυσικής διάστασης του Μαύρου τετραγώνου αλλά να συ-νυπολογίσουμε εξίσου την αντι-νοσταλγική κατεύθυνση της σουπρεματιστικής πρακτικής. Στόχος του Malevich μέσα στο πλαίσιο της πρωτοπορίας ήταν η διακοπή με το παρελθόν και το σεβασμό απέναντι σε οτιδήποτε έχει να κάνει με την πα-ράδοση. Συνεπώς, οποιαδήποτε κριτική για τη συσχέτιση της πρωτοπορίας με τη βυζαντινή εικονολογία πρέπει να βασίζε-ται εν μέρει σε μια αντίληψη που επενδύει μια θρησκευτικό-τητα στο ασυνείδητο της εικαστικής γραφής, η οποία δεν α-ποζητά την επιβολή του θείου, τουλάχιστον με τους όρους που γνωρίζουμε στην ορθόδοξη εκκλησία, αλλά την εκθρόνιση του θεού από τον άνθρωπο μέσω μιας γεωμετρικής οικονομίας που επιθυμεί να διαχειριστεί την ταύτιση του υποκειμένου με το άπειρο. Όμως, αυτή η νέα θρησκευτικότητα του Malevich μπορεί να είναι σε κάποιο βαθμό απόρροια της αποδομητι-κής στάσης του φουτουρισμού, ακόμα και όταν αναγνωρί-ζουμε τη σημαίνουσα διαφορά ότι εκεί που στην ιταλική πρω-Κάτω από τον αστερισμό του Μάλεβιτς ΤΟΥ ΚΩΣΤΗ ΒΕΛΩΝΗ Oποιαδήποτε κριτική για τη συσχέτιση της πρωτοπορίας με τη βυζαντινή εικονολογία πρέπει να βασίζεται εν μέρει σε μια αντίληψη που επενδύει μια θρησκευτικότητα στο ασυνείδητο της εικαστικής γραφής, η οποία δεν αποζητά την επιβολή του θείου, τουλάχιστον με τους όρους που γνωρίζουμε στην ορθόδοξη εκκλησία, αλλά την εκθρόνιση του θεού από τον άνθρωπο μέσω μιας γεωμετρικής οικονομίας που επιθυμεί να διαχειριστεί την ταύτιση του υποκειμένου με το άπειρο

This October saw a remarkable conference [Kazimir Malevich: Kyiv Aspect] take place in Kyiv on the legacy of the great artist whose Ukrainian ties are only now garnering academic and popular interest. The need to celebrate Malevich's Kyivan legacy is raised in numerous public debates amid a campaign to rename Kyiv's Boryspil Airport in his honor.

When the Pussy Riot prayed their "Punk Prayer" in the Cathedral of Christ the Saviour in 2012, they themselves claimed that they were standing in a Christian Orthodox tradition as well as in a Russian artistic tradition. By way of Foucault, this chapter suggests a way to understand the common denominator between these two sources of inspiration. It endeavours to show how a certain account of the apophatic appears in Foucault, Kandinsky, Malevich, the OBERIU (Объединение реального искусства; the Association for Real Art) and Magritte alike; an account that relates closely to the Pussy Riot's notion of the tradition of critique through faith of the Christian Orthodox tradition. It is an account of the apophatic that does not aim to protect the eminent oneness of the transcendent God, but rather to throw light upon the cracks in human knowledge and thus lead to an embrace of the multiplicity of life. Hence, it is an approach that involves playful and nonsensical artistic as well as spiritual techniques, aiming beyond the illusory singularity of reason and even beyond the notions of meaning and meaningfulness as such. Moreover, the chapter shows, it is an account of the apophatic that finds a counterpart in Vladimir Lossky's notion of the orthodox way of life as "a tendency towards an ever-greater plentitude, in which knowledge is transformed into ignorance."

17 Congreso Internacional de Expresión Gráfica Arquitectónica, 2018. Universidad de Alicante. El dibujo no es sólo un instrumento de conocimiento, sino también de comunicación. Un vehículo expresivo íntimamente ligado con la arquitectura y con la transmisión propagandística de sus nuevos planteamientos. En esta comunicación se plantea mostrar la impronta de las vanguardias constructivistas de comienzos del siglo pasado en la representación arquitectónica. Un período en el que las obras e ideas, surgidas de la necesidad y de la crisis, se presentaban como choque dialéctico contra el relato dogmático de la realidad existente. La vigencia de este tema de estudio, presente aún en diversas obras de arquitectura contemporánea, se quiere refrendar dentro de la experiencia docente, tras proponer a los grupos de alumnos la representación del Pabellón Soviético en la Exposición de las Artes Decorativas de París en 1925, obra de Konstantin Melnikov. Sorprende la obtención de unos resultados muy satisfactorios que capturan la atención del observador, a pesar de que los estudiantes tuvieron que lidiar con la restricción de emplear una economía de recursos gráficos. / Drawing is not only an instrument of knowledge, but also of communication. An expressive vehicle intimately linked with Architecture and the propaganda transmission of its new approaches. This paper aims to explore the imprint of the constructivist vanguards of the beginning of the last century in the architectural representation. A period in which works and ideas, arising out of necessity and crisis, presented themselves as a dialectical struggle against the dogmatic narrative of existing reality. The validity of this subject of study, still present in several works of contemporary architecture, is wanted to be endorsed with the teaching experience, after proposing to the students the representation of the USSR Pavilion at the 1925 Paris International Exposition by Konstantin Melnikov. Obtaining very satisfactory results, that capture the attention of the observer, was surprising even though the students had to deal with the restriction of using economic graphic skills.

El artículo pretende aproximarse a la obra teórica y pictórica de Kazimir Malévich en la medida en que, para el artista de Kiev, los límites entre pintar, escribir, pensar y ser resultan realmente difusos. Sin que esta relación tuviera por qué ser natural o evidente, en Malévich encontramos que pintura y pensamiento, creación artística y reflexión filosófica no se oponen, ya que estos procesos son fruto de la actividad creadora del ser humano y comparten la no objetividad. A partir de aquí, Malévich desarrolla toda una investigación alrededor de la representación y la mímesis en el arte que desembocará en una defensa radical de la abstracción. Para ello, se asume completamente el gesto vanguardista y revolucionario, y la destrucción se convierte en algo fundamental para seguir creando. Por ese motivo, para el artista de Kiev, el cero deviene el eje de su proyecto suprematista, esa desnudez de los desiertos a partir de la cual desarrolla toda creación no objetiva.