To that extent, Malevitj’s approach was also highly provocative to the dominating theology of his time. This revolutionary art form turned away from the long-established ideal of art as representing a transcendently situated truth and, instead, elevated the flat canvas and its immanent reality of forms. Leaving behind the representational ideal of painting, Malevitj introduced instead a ”supremacy of forms”, a painting that would let form be form: non-objective and non-representational, related to nothing but its intrinsic geometric shapes and colours. In Moscow in 1913, Kazimir Malevitj (1878-1935) turned the art world around by founding the Suprematist art movement. 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." 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. 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. 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. By way of Foucault, this chapter suggests a way to understand the common denominator between these two sources of inspiration. Of the existence of other imagery underneath the black surface, but scanning revealed some further details.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. The discovery is also interestingīecause it demonstrated how closely Russian avant-garde representatives were following the developments in France.”Īpart from the inscription, the investigation that was conducted for the work’s centenary this year discovered earlier layers of paint under the monochrome surface of cracked black paint. “Malevich used Allais’s prank, but turned it into the realm of high art. Him of plagiarism, but in reality the situation is much more complicated,” he added. “Some commentators in Russia hurried to accuse “There is no doubt that the creation of Allais became the source of inspiration for Malevich,” Konstantin Akinsha, a Malevich expert, said in an email. The researchers do not know whether Malevich made the inscription while working on the painting or later. Examination revealed a Russian phrase that seemed to refer to an earlier work.
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