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Italian translation of Zhivopisnye zakony v problemakh kino by Kazimir Malevich.

Kazimir Malevich’s famous Black Square (1915) can be considered the emblem of the Russian avantgarde in its First historical phase; its poetic equivalent is the cubo-futurists’ zaum’. The purity of form in the ‘objectless’ representation appeared then as the premise of a new perception of the world and of its possible reconstruction from zero with infinite potential. The work of Daniil Kharms is fully in line with this utopian tradition but will gradually come to show its limits and dangers. In the thirties his work articulates the threat that nothingness poses to the original purity, when ‘void’ [pustota] rhymes with ‘purity’ [chistota].

V članku je predstavljen odnos Kazimira

Pavel Peperštejn je slikar, pisac, teoretičar

Je mogoče s povezavo Malevičeve slike

Razprava analizira pojem mimesis

Članek ponuja eno izmed možnih genealogij

In this paper I present essential differences in the approach to the expression of the avant-garde in the works of Kazimir Malevich and El Lissitzky. In part one of my work, I take into consideration the emergence of the term "avant-garde" and the goals it expressed - this will serve as a basis that will be applied to the authors'artistic production and theoretical writings in order to understand the fundamental differences in their work. The aim of this paper is to illustrate how the authors, despite being contemporaries and associates, and despite the superficial similarities usually imposed on the same movement in art history discourse, were essentially different in their realization of avant-garde expression. While the avant-garde of Malevich is self-reflective and esoteric, Lissitzsky activelly propagates his ideology and political goals to a wider audience. [ABSTRACT FROM AUTHOR]