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Kasimir Malevich –An Introduction |
Kasimir Malevich very carefully prepared the first public appearance of his new painting in 1915. The "Black Square" arrived together with a new theory of art and its function as a regenerative power, which Malevich called "Suprematism."
By Katrin Bettina Müller
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The Curator in an Interview |
"You don't have to be interested in non-objective form to be interested in these paintings," according to the curator Matthew Drutt. In an interview, he talks about the year-long preparations for the exhibition, contacts to Russian collectors and museums, and his life-long enthusiasm for Malevich's work. |
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Links and Literature on Malevich
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Whoever searches for links and further literature on Kasimir Malevich will soon let out a sigh of exasperation: Oh, Europe! In the internet, we've found five different ways of writing the name: Malewitsch, Malevich, Malevitch, Malewitch, and Malevic – not to mention Kasimir. Yet Anja Seeliger has managed to find something after all… |
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Malevich in Berlin |
"I don't think an artist has ever been taken care of in such a friendly way before… two summer months, hot, everything in bloom," Malevich wrote about his Berlin sojourn of 1927, during the "Great Berlin Art Exhibition." Roland Enke on the Russian artist's ties to the German capital.
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Kasimir Malevich is considered
to be the pioneering co-founder of abstract art. Between the years 1915
and 1932, he developed a form of non-objective painting which he called
Suprematism. The curator Matthew Drutt has called the current show in the
Deutsche Guggenheim Berlin a ccelebration of great painting"; the exhibition
is exclusively dedicated to this crucial period of the artist's career
and presents paintings, drawings, and objects from international, public,
and private collections. Among the exhibited works are paintings never
before shown in the West, several of which are some of the recently rediscovered
Malevich masterpieces.
In an interview, Matthew Drutt explains the significance
Malevich has – not only as one of the most important pioneers of modernism,
but also for contemporary art in general.
Suprematism stands for an
absolute approach to art: in her introduction, Katrin Bettina Müller explains
the biographical and historical background that lies at the heart of the
regenerative power of Malevich's work.
Berlin was to become a fateful location
for Malevich. The art historian Roland Enke traces the artist's relationship
to the German capital and the Great Berlin Art Exhibition of 1927.
Only a few days before the opening in the Deutsche Guggenheim, the preparations
in Berlin were in full swing. Under the heading "Art at Work," we've reported
on the work of the restorers responsible for the Malevich exhibition.
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