And it looked for the things that remain beyond any human attempt at conservation. Anyways, the historical period during which the first square appeared was rather unstable: the middle of the World War I, the aftermath of Russian revolution ofand the new revolutionary spirits floating in the air caused unrest, anxiety, and evoked the search for new forms and ways in almost every sphere of life, including art.
And this finitude of human existence prevents humanity from achieving any kind of perfection—be it spiritual or technical. Benjamin witnessed this himself.
Probably, Malevich even saw his own style of suprematism as obsolete as well; a suprematist composition was discovered under the black layers of paint, which might be a clue to understand the square. Oil on canvas.
Malevich suprematism essay writing But what happened to the reductionist images of the early avant-garde after the victory of the October Revolution, under the conditions of the post-revolutionary state?
Additionally, Malevich saw the black square as a kind of godlike presence, an icon - or even the godlike quality in himself.Perhaps because, before he turned his back to the future, he believed in the possibility of a future realization of all social, technical, and artistic projects. In our time, Malevich is often accused of allowing his art to be infected by the bacilli of figuration, and even, during the Soviet phase of his artistic practice, by Socialist Realism. Carried by the winds of history, the Angelus Novus has turned his back to the future and looks only towards the past. To repeat the forms of avant-garde art? The Communist Party responded by trying to save these collections. Khidekel started his study in architecture in Vitebsk art school under El Lissitzky in A script for an "artistic-scientific film", in manuscript. Was the Russian avant-garde a collaborator, a coproducer of the October Revolution? It was basically a conformist art. To criticize something one must somehow reproduce it—to present this criticized something together with the critique of it. Malevich undertakes the most radical reduction of the image to a black square , thus anticipating the most radical destruction of the traditional image by material forces, by the power of time. We live in the prison of permanent change.