DOI Heft:
Nr. 2
DOI Artikel:Wozniak, Cezary: Przestrzerń suprematyzmu
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.48740#0150
CEZARY WOŹNIAK
that is whiteness devoid of colours and qualities,
emptiness free of any attributes and differentiations,
infinite space, and abyss. Thereby, Malevitch's
intuitions would coincide with the experiences of
Western mistics (Eckhart, Tauler, Suzo, Boehme),
and, first and foremost, with the internally oriented
tradition of the East, particularly budhism and
thaoism. Parallels to this spiritual traditions and
Malevitch's notions such as „emptiness", ,,exci-
tement", ,,pure feeling" or „complete conscious-
ness" are presented The „Black square", Ma-
levitch's concretization of consciousness, is inter-
preted as a simplified mandala, the symbol of the
universe, both external and internal, or as a sym-
bol of the Self in Jung's understanding of the term.
Its perception contains certain irrational element
of space, seemingly a ,,non-objective extract" of
space, which, similarly to the space of the Eastern
world described by Panofsky, cannot be concep-
tualized. Approaching space, Malevitch's „Black
square" as well as the „White square" reach the
limits of the painterly language, the limits of
space expression in painting.
The cube, the signicative equivalent of Male-
vitch's square, which on the psychological level
is a symbol of durability, indestructibility, stability,
and materialization becomes the primary form of
the Suprematist architecture related to the „higher,
cosmic existence of man". This idea of the ma-
terialization of „complete consciousness" is one of
the most incredible artistic visions in the history
of fine arts. In my opinion, if goes beyond any
proposals of conceptual art. If art, according to
J. Kosuth, can deal „as well as with physics, with
the states of things that philosophy defines",
according to Malevitch, art would deal with the
things that philosophy cannot define, for they are
beyond its linguistic possibilities. Is it that Male-
vitch's „impossible art" reaches the limits of the
language, and, consequently, of art too?
Translated by Magdalena Iwińska
that is whiteness devoid of colours and qualities,
emptiness free of any attributes and differentiations,
infinite space, and abyss. Thereby, Malevitch's
intuitions would coincide with the experiences of
Western mistics (Eckhart, Tauler, Suzo, Boehme),
and, first and foremost, with the internally oriented
tradition of the East, particularly budhism and
thaoism. Parallels to this spiritual traditions and
Malevitch's notions such as „emptiness", ,,exci-
tement", ,,pure feeling" or „complete conscious-
ness" are presented The „Black square", Ma-
levitch's concretization of consciousness, is inter-
preted as a simplified mandala, the symbol of the
universe, both external and internal, or as a sym-
bol of the Self in Jung's understanding of the term.
Its perception contains certain irrational element
of space, seemingly a ,,non-objective extract" of
space, which, similarly to the space of the Eastern
world described by Panofsky, cannot be concep-
tualized. Approaching space, Malevitch's „Black
square" as well as the „White square" reach the
limits of the painterly language, the limits of
space expression in painting.
The cube, the signicative equivalent of Male-
vitch's square, which on the psychological level
is a symbol of durability, indestructibility, stability,
and materialization becomes the primary form of
the Suprematist architecture related to the „higher,
cosmic existence of man". This idea of the ma-
terialization of „complete consciousness" is one of
the most incredible artistic visions in the history
of fine arts. In my opinion, if goes beyond any
proposals of conceptual art. If art, according to
J. Kosuth, can deal „as well as with physics, with
the states of things that philosophy defines",
according to Malevitch, art would deal with the
things that philosophy cannot define, for they are
beyond its linguistic possibilities. Is it that Male-
vitch's „impossible art" reaches the limits of the
language, and, consequently, of art too?
Translated by Magdalena Iwińska