#suprematismo

[imitacionalarte]

Another suprematism artwork.

[gregor-samsung]

“ Un operaio in tuta turchina stava oliando una grande trebbiatrice, curvo sulle ruote e gli ingranaggi. Io m’ero fermato in mezzo al cortile, e lo guardavo lavorare da lontano. Oliava le sue macchine, continuava a fare il suo mestiere, come se la guerra fosse lontana, come se la guerra non avesse neppure sfiorato il villaggio di Pestchanka. Dopo alcuni giorni di pioggia era uscito il sole, l’aria era tiepida, le pozzanghere d’acqua fangosa specchiavano un pallido cielo azzurro percorso da lievi nuvole bianche. A un certo punto entrò nel kolkhoz un ufficiale tedesco delle SS seguito da alcuni soldati. L’ufficiale si fermò a gambe larghe in mezzo al cortile, guardandosi intorno. Ogni tanto si voltava a parlare ai suoi uomini: alcuni denti d’oro luccicavano dentro la bocca rosea. A un tratto vide l’operaio curvo a oliare la macchina, e lo chiamò. «Du, komm, hier!». L’operaio si avvicinò zoppicando. Anch’egli era zoppo, lo avevano lasciato indietro perché era zoppo. Stringeva nella mano destra una grossa chiave inglese, nella sinistra un oliatore d’ottone. Nel passare accanto al cavallo gli disse qualcosa a voce bassa, e il cavallo cieco gli strofinò il muso sulla spalla, lo seguì zoppicando per alcuni passi. L’operaio si fermò davanti all’ufficiale, si tolse il berretto. Aveva i capelli neri e crespi, il viso grigio, magro, gli occhi opachi. Era certamente un ebreo. «Du bist Jude, nicht wahr?» gli domandò l’ufficiale. «Nein, ich bin kein Jude» rispose l’operaio scotendo la testa. «Cto? ti niè Evriu? Ti Evriu! tu sei ebreo!» gli ripeté in russo l’ufficiale. «Da, ja Evriu, sì sono ebreo» gli rispose in russo l’operaio. L’ufficiale lo guardò a lungo, in silenzio. Poi gli domandò lentamente: «E perché, un momento fa, mi hai risposto di no?». «Perché me lo hai domandato in tedesco», rispose l’operaio. «Fucilatelo!» disse l’ufficiale». “

Curzio Malaparte, Kaputt, Introduzione di Mario Isnenghi, Mondadori ( Collana Oscar narrativa n° 1102 ), 1978; pp. 84-85.

[ 1ª ed. originale nel 1944 presso l’editore Casella di Napoli ]

[fineartandblueamber]

Principles of Kazimir Malevich’s Suprematism Philosophy

Suprematist art, specially drawn in out-of-proportion size with the art concept, was a small standing mirror in which the materialistic men of a materialistic century could look at themselves…Suprematism presented to the Russian people the greatest aspects of non-objectivity in art and by so doing, open the way to a deeper understanding of art. Malevich was an intelligent in his stratagems for appealing to the plain sense of his utilitarian countrymen while not compromising his art doctrine.

Step by step throughout its development, he would present the squares and circles as inventions to aid the peasant in life and in the end, it would seem seekers for eternal life. It is most likely that in the first instances of the non-objective creations, Malevich was trying to slip something into the art of the Communist overseer…but when he always failed to gain the serious notice of the public servant, he finally revealed the real aim of his Being.

Through this struggle for acceptance of his art doctrine, Malevich showed a large amount of mordant wit in his politicking with the Communist art organizers. In this weak state of the intellectual elite in Russia, it proves the theory that the artist, no matter how true and dedicated he may be, is always a servant to the age in which he lives…but in Malevich’s example, he is also a leader of the future.

When a single individual comes to represent the symbol of an entire age, it is because he bears within himself the secrets and the future of that age. Malevich’s Suprematism is the most absolute development of modernist sensibility; and the servant of it. It is for this reason that Suprematism, from its beginning in 1913 to the late 1920s, was primarily a cultural force, at least in the mind of its originator.

As a result, in the tumult of early 20th-century Russia, Malevich emerged as a beacon of Suprematist art, challenging the conventions of representation with his fervent embrace of non-objectivity. His art doctrine, meticulously crafted, sought to liberate Russian art from the shackles of materialism, offering instead a portal to abstract realms. Malevich, a visionary of Russian art, navigated the turbulent waters of Modernism with unparalleled audacity, spearheading the avant-garde movement with his bold strokes and geometric forms.

As the cultural force of Suprematism swept through the intellectual elite, Malevich stood as its unwavering advocate, confronting the entrenched ideologies of his utilitarian countrymen. Through his artistic innovation, he transcended the confines of symbolism, weaving a tapestry of abstract expression that resonated with the future of art itself.

Of this, “Suprematism of the Spirit” is an iconic example. (see note below) Matter of fact, “Suprematism of the Spirit” represents the culmination of Malevich’s artistic journey within the Suprematist movement, where he sought to push the boundaries of abstraction and express the ineffable through geometric forms and color.

In the years following the creation of his seminal work “Black Square” in 1915, Malevich continued to refine his ideas and experiment with geometric abstraction. His Suprematist compositions became more complex, incorporating a variety of shapes, lines, and colors arranged in dynamic compositions.

By the time he painted “Suprematism of the Spirit,” likely in 1919 or 1920, Malevich had fully embraced Suprematism as a means of expressing the spiritual essence of art. The title itself suggests a departure from the purely material or formal concerns of earlier Suprematist works towards a deeper exploration of metaphysical themes.

“Suprematism of the Spirit” may feature a composition dominated by geometric shapes and bold colors, typical of Malevich’s Suprematist style. However, it also likely conveys a sense of transcendence and inner harmony, reflecting Malevich’s belief in the ability of art to evoke spiritual truths beyond the material world.

Note: Seems that there were several versions made of “Suprematism of the Spirit”. The museum in Amsterdam has on on wood and the museum in Tel Aviv has one based on that. The version above (File:Suprematism-spirit-1919-1920.jpg – Wikipedia. ) is shown in Unovis No 1 Vitebsk 1920 as annex to the facsimile edition and in Jahrbuch der jungen Kunst, Klinkhardt Biermann in the article of Kallai, Ernst (Konstruktivismus p.375) Leipzig,1924 as well as El Lissitzky/Hans Arp (Die Kunstismen /Les Ismes de L’Art /The Isms of Art) in 1924-1914 Erlenbach Zürich München Leipzig 1925 Pp 23 (illustration 45) and many more.

[bocadosdefilosofia]

«Ahora resulta fácil entender por qué la relación de seres humanos con un Supremo de tipo personal cae bajo leyes completamente distintas que la establecida con un Supremo impersonal. La forma del suprematismo personal conlleva que los pensantes y creyentes en relación con Dios sólo puedan ocupar el puesto de vasallos o colaboradores; si no, sólo les queda el descabellado papel de incrédulos y objetores de conciencia. Lo quieran o no, la suprematización del Dios personal asigna de modo totalmente inevitable a los seres humanos un nivel inferior. La asimetría más importante entre señor y servidor se expresa en el hecho de que Dios, incluso como revelado, permanece inescrutable para los seres humanos, mientras que los seres humanos no pueden tener ningún secreto ante Dios. Las asimetrías cosmológicas y morales son abrumadores en igual medida: las competencias de Dios se extienden al universo entero, mientras que el ser humano a menudo ni siquiera consigue mantener en orden su propia vida.»

Peter Sloterdijk: El celo de Dios: Sobre la lucha de los tres monoteísmos. Ediciones Siruela, págs. 91-92. Madrid, 2011

TGO

@bocadosdefilosofia

@dies-irae-1

[museoweb]

Kazimir Malevich - Painterly Realism of a Boy with a Knapsack - Color Masses in the Fourth Dimension - 1915 

[iamshipwrecked]

Баланс.

Collage sobre impresión, 2021. 

Dibujo de Elena García y collage de Raúl Gil.

[laonuba]

Para publicar estos desnudos artísticos y que no los eliminen, tienes que ser un experto en suprematismo

[elhadaquenoinvitaron]

| La imagen

Es mucho más simple y clara

que lo que ella explica.

Pero

en un universo lleno de imágenes, nos habituamos a ellas,

se han vuelto comunes

                                  para nosotros

                                                      Ordinarias.

No las percibimos por estar cubiertas de hábito

A pesar de que nos irrumpen a diario

Nos acostumbramos a ellas y

Pasamos por alto en nuestro entorno todo lo habitual

sólo percibimos lo que allí cambia;

Entonces, el mundo es reconocido

(no realmente visto)

a partir de sus primeros rasgos: reconozco sin necesidad de detalles. Y una vez que -este proceso- es habitual, se transforma en automático; se hace inconsciente. En esta inconsistencia se reproduce sin esfuerzo; se vuelve

                                i n e x i s t e n t e.

Y si la vida se desarrolla inconscientemente

desaparece, transformándose en nada, como si no hubiera existido.

La automatización devora

                    objetos, hábitos, personas,

             la vida

Mata

Para desautomatizar(la) y dar sensación

de vida

existe lo que se llama arte.

En 1915, Malévich expone su Cuadrado negro sobre fondo blanco y dice:

“El cuadrado negro es la sensibilidad, y el fondo blanco es la nada. ¿No les alegra que el arte vaya como un rayo hacia el suprematismo?”

El suprematismo evita cualquier imitación a la figuración y busca alejarse de la automatización del reconocimiento de las cosas.

El mundo de la no-representación quiere valerse por sí mismo.

Así como la poesía.

(en base a:

Malevich, Shklovski, Maiakovski, Flusser)