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Prispevek rekonstruira pozabljeno epizodo iz slovensko-bolgarskih gledaliških stikov. Na Prvem kongresu južnoslovanskih pisateljev in publicistov novembra 1905 sta se v beograjskem narodnem gledališču isti večer igrali enodejanki Zofke Kveder Ljubezen in Petka Todorova Strahil strašni hajduk. Čeprav se predstavnika modernizma nista srečala na tem forumu (slovenska delegacija ni prišla), sta se na odru srečali njuni dramski deli, ki vstopata v resni in produktivni medsebojni dialog. This paper reconstructs a forgotten episode of Bulgarian-Slovene theatre and cultural relations. At the First Congress of South Slavic writers and newspaper commentators in the Belgrade Drama Theatre in November 1905, on the same evening were performed the one-act plays Zofka Kveder's Love and Petko Todorov's Strahil Terrible Rebel. Both authors are representatives of modernism, and although they did not meet at this forum (the Slovene delegation did not arrive), their works encountered each other on stage, engaging in serious and productive dialogue each other.

Magistrska naloga izhaja iz razširjenega razumevanja modernizma v arhitekturi. Ne razume ga preprosto kot arhitekturno gibanje iz 20. stoletja, temveč kot trenutek (vsakokratnega) miselnega preloma v zgodovini arhitekture, ko se odpre možnost za drugačno razmišljanje in delovanje na področju arhitekture. Naloga zagovarja stališče, da so takšni prelomni trenutki za arhitekturo še posebej pomembni, da jih je vredno vzeti pod drobnogled. Takrat se je namreč v razvoju arhitekture zgodilo nekaj, iz česar se lahko učimo. Takšno razumevanje modernizma v arhitekturi nam tudi omogoča, da se v mišljenju sodobne arhitekture ne opiramo le na primere, ki izhajajo iz bližnje preteklosti, temveč si lahko pomagamo z dragocenimi izkušnjami razvoja kreativne prakse arhitekture, ki se odvija že stoletja ali celo tisočletja. Kot primer takšnega prelomnega trenutka v zgodovini bom predstavil trenutek, natančneje, obdobje, ko se vzpostavi gotska arhitektura. V ospredju obravnave bo tehnološki eksperiment konstruiranja, ki je omogočil prelom s tradicionalno masivno konstrukcijo v korist vitkemu skeletu. V tem vidim modernost gotske arhitekture. Ker v srednjem veku niso poznali računskih metod za določanje mehanske odpornosti stavbe, so se zanašali na intuicijo, pridobljeno skozi izkušnje sistematičnega testiranja konstrukcije in eksperimentiranja v merilu 1 : 1. Za takšno delovanje so bili ključni postopen razvoj konstrukcije, primerna zasnova stavbe, postopek gradnje, oblika arhitektovega delovanja in usklajenost vseh udeležencev/akterjev. Vse to in še več pa je, kot pokaže magistrska naloga, izjemnega pomena ne le za razumevanje zgodovine arhitekture, ampak tudi za razvoj sodobne arhitekturne prakse. This thesis takes as it starting point an extended understanding of modernism in architecture. It doesn't understand modernism simply as an architectural movement from the 20th century but as the moment of rupture in the history of architecture – the moment of opening of an entirely different way of thinking and acting in the field of architecture. This thesis argues that such moments of rupture are particularly important for architecture and that they should be closely examined. Something happened in the history of architecture then, and we can learn from it. Such understanding of modernism also enables that in the contemporary practice of architecture we not only learn from the cases that come from a not-so-distant past, but actually ground our thinking and practice on the centuries long experience of the rich developments of the creative practice of architecture. As an example of such a groundbreaking moment in history, I would like to present Gothic architecture. The focus of the discussion will be on the technological experiment of construction that allowed for a break from traditional massive construction in favor of a slender skeleton. Since no computational methods for determining the mechanical strength of buildings were known in the Middle Ages, contemporary builders relied on their intuition gained through experience with systematic testing of structures. Crucial to such a method of working was the gradual development of the structure, the appropriate building design, the building process, the form of architectural profession, and the coordination of those involved. All this and more, as we will see in the following pages, is of great importance for contemporary architecture.

Osrednji predmet magistrske naloge je sodelovanje dr. Špelce Čopič, umetnostne zgodovinarke, predavateljice, publicistke in likovne kritičarke, z Moderno galerijo v Ljubljani, osrednjo slovensko nacionalno inštitucijo, namenjeno razstavljanju moderne in sodobne likovne umetnosti. Prvi del naloge je namenjen predstavitvi življenja in opusa Špelce Čopič, v okviru katere smo umetnostno zgodovinarko opredelili tudi kot strokovnjakinjo, predstavili njeno osnovno nazorsko »držo«, pogled na stroko in snov ter na primeru analize njenih kritik razstav sodobne umetnosti orisali njen kritiški profil. V drugem delu je analizirano sodelovanje Čopič z Moderno galerijo. Zanimalo nas je, kako se je formiral njen odnos z inštitucijo, kakšen je bil, kako je do specifičnega sodelovanja sploh prišlo, na kakšen način je potekalo in kdaj se je začrtala njegova forma in vsebina. Opredelili smo vlogo, ki jo je strokovnjakinja odigrala pri organizaciji posamezne razstave, pri kateri je sodelovala, ter njene avtorske deleže pri snovanju in izoblikovanju razstavnega koncepta (selekcija umetniških del, postavitev, spremljevalni dogodki …), pa tudi vsebine razstavnega kataloga. Sklepni del je namenjen valorizaciji njenega prispevka k slovenski umetnostnozgodovinski stroki ter opredelitvi njegove vloge v širšem jugoslovanskem kontekstu. Raziskava temelji na literaturi, arhivskih virih, intervjujih ter zapuščini Čopič, ki jo hrani Moderna galerija v Ljubljani. The main subject of the master's thesis is the collaboration of Špelca Čopič, art historian, lecturer, publicist, and art critic, with The Museum of Modern Art Ljubljana, the central Slovenian national institution dedicated to exhibiting modern and contemporary visual art. The first part of the thesis is dedicated to the presentation of the life and oeuvre of Čopič, in the context of which we defined the art historian as an expert, presented her basic »viewpoint«, her view on the profession and the material. We also outlined her critical profile on the example of an analysis of her critique of an exhibition of contemporary art. The second part of the thesis focused on the analysis of Čopič's collaboration with The Museum of Modern Art Ljubljana itself. We were interested in how her relationship with the institution was formed, what it was like, how the specific collaboration came about in the first place, how it was defined and how it changed and evolved. We characterized the role she played in the organization of the individual exhibition as well as her authorship in the design and development of the exhibition concept (selection of artworks, layout, accompanying events ...) and the content of the exhibition catalogue. The conclusion is intended to evaluate her contribution to the Slovenian art history profession and to define her role in the wider Yugoslav context. The research is based on literature, archival sources, interviews, and the legacy of Čopič kept by The Museum of Modern Art Ljubljana.

Doktorska disertacija izhaja iz naslednjega vprašanja: na kakšen način se arhitektura danes lahko na produktiven način vzpostavlja v odnosu do sodobne družbe? Produktiven način razumemo kot način delovanja arhitekture, ko ta lahko prispeva k oblikovanju boljše družbe. To določajo različne stalno spreminjajoče se družbene discipline, vsaka s svojim problemskim poljem. Nanje lahko pogledamo z različnih zornih kotov in tako poskusimo razumeti kompleksnost sodobne družbe. Kljub njeni kompleksnosti, sodobno družbo uravnava neka specifična logika, ki je lastna (globaliziranemu) neoliberalnemu kapitalizmu, za katerega je značilno, da se vzpostavlja skozi politične, ekonomske, okoljske, humanitarne, zdravstvene in ostale krize. Zanima nas, kakšna bi morala biti vloga arhitekture v sodobni družbeni situaciji, da bi pozitivno doprinesla k družbi in bila s tem kritično relevantna. Z disertacijo kažemo, kako lahko sodobna arhitektura v 21. stoletju deluje avtonomno in s tem aktivno ter kritično soustvarja svoj družbeni kontekst. Delovanje arhitekture na avtonomen način je delovanje znotraj družbe, vendar tako, da se v njej določa sama, torej brez podrejanja obstoječi družbeni realnosti. Drugače rečeno, pri delovanju znotraj družbe gre za razumevanje problematike, ki se jo preartikulira na avtonomen, arhitekturi lasten način. Zaradi tega trdimo, da mora arhitektura izboljševati družbo tako, da se ukvarja s sodobnimi družbenimi problemi. Arhitektura je na ta način že delovala v preteklosti, na primer v obdobju razsvetljenstva in v obdobju modernizma. Takšno delovanje je prekinil neoliberalni kapitalizem, ki je posegel v napredno usmeritev ter delovanje arhitekture. V disertaciji iščemo načine, s katerimi bi arhitektura, tako kot že v 20. stoletju, lahko delovala progresivno tudi danes. Orodja, s katerimi sodobna arhitektura to lahko doseže, opredeljujemo kot razširjene strategije sodobne arhitekture. Sodobni čas lahko razumemo skozi različne vidike, ki ga opredeljujejo. V disertaciji smo se posvetili politični, ekonomski in ekološki problematiki ter jih zaobjeli s tremi vidiki, ki so stične točke med arhitekturo in družbo. Zanima nas arhitekturna reartikulacija teh vidikov. V njej je moč in družbena relevantnost arhitekture. Trije vidiki, ki nas zanimajo, so politični, ekonomsko-družbeni in ekološko tehnični. Znotraj vsakega od njih smo, da bi dokazali praktične implikacije naše teze, poiskali arhitekturne ustvarjalce, ki s svojim delom na posebej produktiven način v svojih projektih (kljub temu, da sicer delujejo univerzalno, znotraj večih vidikov) poudarjeno naslavljajo problematiko po enega izmed treh vidikov, ki smo jih izpostavili. To so arhitekturni biroji Njiric+, Lacaton & Vassal in Ecosistema Urbano. Njiric+ deluje na poudarjeno političen, Lacaton&Vassal na ekonomsko - družben in Ecosistema Urbano na ekološko-tehničen način. Njirićevo politično delovanje temelji na subverziji špekulativnih pristopov zasebnih in javnih naročnikov, ki so se vzpostavili zaradi odsotnosti produktivne državne in mestne politike. Lacaton & Vassal standardni model varčnosti zamenjajo z ekonomskim pristopom, ki s tipološko spremembo in alternativno materialno artikulacijo ustvarja arhitekturo izobilja, ki omogoča in vzpodbuja popolnoma nove modele uporabe. Ecosistema Urbano skozi integracijo okoljske tehnologije in narave ustvarjajo projekte, ki kažejo na novo možno vizijo ekološko integrirane arhitekture. Našteti biroji naslavljajo in se spoprijemajo z opisano tematiko z različnih robnih pozicij. Njiric+ deluje na geopolitičnem obrobju Evrope Lacaton & Vasal in Ecosistema Urbano pa delujejo na obrobju strokovnega zanimanja, saj sicer izhajajo iz močno arhitekturno profiliranih okolij. Trije izbrani biroji delujejo z razširjenimi strategijami 21. stoletja, uporabo katerih smo skozi analizo pokazali na primeru njihovih arhitekturnih projektov. Sodobno arhitekturo vzpostavljajo z razumevanjem sodobnega časa, reartikulacijo političnih, ekonomsko družbenih in ekološko-tehničnih vprašanj. S strategijami, ki smo jih raziskali pri izbranih praksah, smo pokazali, na kakšen način se lahko arhitektura danes, na družbeno kritičen in produktiven način vzpostavlja ter tako sooblikuje 21. stoletje. The doctoral thesis stems from questioning how architecture can actively establish itself in relation to contemporary society. In large part, this is determined by the globalised neoliberal capitalism, establishing itself predominantly through political, economic, environmental, humanitarian, healthcare, and other crises. We are interested in determining the role of our profession in the current environment so as to positively contribute to society, rendering it relevant. With this dissertation, we demonstrate how contemporary architecture in the 21st century works autonomously, thereby actively and critically co-creating its societal context. Architecture functioning autonomously means working within society, but without subordinating itself to the established societal realities. We envision working within society as understanding the scope of the problem, and rearticulating it in an autonomous way, as only architecture can. We therefore state that architecture must enhance society by dealing with current societal issues. Architecture had previously functioned in the aforementioned way, i.e. during the eras of Enlightenment and Modernism. Such workings were interrupted by the flourishing neoliberal capitalism, which put a stop to architecture’s progressive standpoints and agendas. In this dissertation, we search for ways in which architecture, as it had done in the 20th century, could function progressively today. The tools with which contemporary architecture might achieve this are defined as expanded strategies of contemporary architecture. We understand contemporaneity through various points of view that, in turn, define it. Within the dissertation, we discussed the political, economic and ecological points of view and encompassed them with three perspectives that function as junctures between architecture and society. The three points of view we’ll keep in focus are the political, economic-social, and ecological-technical points of view. So as to prove the practical implications of our thesis, we looked for creators of architecture that fit each of those points of view, and that address with their work in an especially productive way the issues highlighted by each of our perspectives. These are the architectural offices Nijric+, Lacaton & Vassal, and Ecosistema Urbano. Njiric+ works in a notably political way, Lacaton & Vassal’s approach is economic-social and Ecosistema Urbano apply an ecological technical point of view. Njirić’s political activity lies in his subversion of speculative approaches to private and public clients that have established themselves in the absence of productive national and municipal politics. Lacaton & Vassal have replaced the standard austere model with an economic approach that takes a typological change and an alternative material articulation to create the architecture of plenty, enabling and encouraging entirely different models of use. Through integrating eco-friendly technology and nature itself, Ecosistema Urbano create projects that demonstrate a new possible vision of an ecologically integrated architecture. The offices address and deal with the described issues from various borderline positions. Njiric+ is active at a geopolitical borderline of Europe while Lacaton & Vassal and Ecosistema Urbano are active at the edges of professional interest, as they otherwise come from architecturally well established environments. The three selected offices work with the expanded strategies of the 21st century, and we have demonstrated their use with their architectural projects. They have established contemporary architecture by understanding our contemporary times and rearticulating political, socioeconomic and ecological-technical questions. By researching these strategies, implemented by selected offices, we demonstrated how architecture today can establish itself in a socially critical and productive way, co-creating the 21st century.

Instalacijska umetnost se je pojavila v 60. letih 20. stoletja. Kot novomedijsko umetnost so jo uveljavljeni modernistični kritiki in teoretiki negativno sprejeli – Michael Fried jo označi kot preveč performativno prakso. Toda prav zaradi performativne vloge, ki jo ima pri obiskovalcu, je kaj kmalu postala priljubljena oblika likovne umetnosti, ki služi kot protiutež visokomodernistični greenbergovski likovni praksi. Instalacijski diskurz vznikne ob ontološkem obratu, ki iz modernizma rodi postmodernizem. Z intersubjektivnim razumevanjem gledalčeve izkušnje je teorija instalacijske umetnosti skoraj povsem podvržena fenomenološki razlagi, za povrhu pa lahko obiskovalčevo vlogo razumemo kot predvsem performativno. Danes je instalacija ena izmed najbolj uveljavljenih likovnih oblik, termin pa je pogosto tudi zlorabljen. Definicija instalacije mora ostati dovolj odprta, vendar hkrati ne sme biti preširoka. Instalacija je izrazito prostorsko utemeljena, vendar hkrati odvisna od posameznega obiskovalca. Aktivacijo obiskovalca instalacije je definirala že Claire Bishop, Anne Ring Petersen pa je njeno definicijo instalacije nadgradila s konceptom performativnosti. Kot danes prevladujoči likovni izraz se je instalacija v zadnjih petdesetih letih razvijala, z razvojem instalacijske umetnosti pa se je razvijal tudi instalacijski diskurz. Tako likovna forma kot diskurz nista zaključeni tvorbi, zato bo razvoj potekal še naprej, zanj pa bo potrebno nadaljnje teoretično motrenje sprememb, ki se pojavljajo v likovni umetnosti. Installation art first appeared in the 1960s. As new media art, it received a negative reception from established modernist critics and theorists - Michael Fried characterizes it as an overtly performative practice. However, it soon became a popular form of fine art, precisely because of the performative role it has in the visitor, which serves as a counterweight to the highly modernist Greenbergian art practice. Installation discourse emerges at the ontological turn, which initiates postmodernism out of modernism. With an intersubjective understanding of the viewer's experience, the theory of installation art is almost entirely subject to phenomenological interpretation, and on top of that, the role of the visitor can be understood as primarily performative. Today, installation is one of the most established art forms, and the term is often misused. The definition of the installation must remain sufficiently open at the same time, but not too broad. It is distinctly spatially based, but at the same time dependent on each individual visitor. The activation of the installation visitor was already defined by Claire Bishop, later Anne Ring Petersen upgraded her definition of the installation with the concept of performativity. As today's dominant artistic expression, installation has developed over the past fifty years, and installation discourse has also developed in accordance with the development of installation art. Both the artistic form and the discourse are not finalized creations, so the development will continue, which will require further theoretical study of the changes occurring in the visual arts.

Gregor Gojmir Krek (1875 – 1942) se je v prvi polovici 20. stoletja na Slovenskem uveljavil kot ugleden pravnik, sodnik, univerzitetni profesor in skladatelj ter kritik. Poleg ugodnih družinskih razmer so njegovo poklicno pot pomembno opredelili rojstni kraj in zgodovinske okoliščine. Gradec, pomembno pravno in kulturno središče Habsburške monarhije, ga je pravno-filozofsko in glasbeno-nazorsko izoblikoval. Močan vpliv zgodovinskopravne šole tekom študija prava se zrcali v njegovem uvodnem predavanju Pomen rimskega prava nekdaj in sedaj ter razpravi Organizacija sodišč po najnovejšem zakonskem načrtu. Študij glasbe ga je opremil z izvrstnim tehničnim znanjem skladanja in nazorsko širino. Pomembno pa je nanj vplivalo tudi takratno pestro družbeno-politično dogajanje, za katero so značilne nepopustljive zahteve po družbenih spremembah, ki se odrazijo z vzpostavljanjem narodnih identitet, kulture in jezika kot iskanjem novih vezi pripadnosti ter posledične dihotomije med starim ustrojem in novimi idejami. V okviru stare države zgrajena sodniška kariera ter priprava na akademski poklic sta Kreka konstituirali kot nadobudnega pravnika, ki ga je nova prihodnost slovenske družbe potrebovala in ki je izpolnil in presegel vsa pričakovanja. Zaradi vpliva na pospeševanje slovenskega glasbenega razvoja z ustanovitvijo in urednikovanjem revije Novi akordi je bil ključna osebnost slovenske glasbe v začetku 20. stoletja. Njegovi nazori se s časom niso bistveno spreminjali. Pred I. svetovno vojno so bili še zelo napredni, s spremembo okoliščin po njej pa so postajali manj aktualni. Krekovim pravnim in glasbenim delom so lastne zanj značilna razpetost med starimi oblikami in novimi načini ter pomen kontinuiranega razvoja in tradicije kot značilnosti glasbene moderne. V njegovem glasbenem kritiškem delu so te prevladujoče, medtem ko, četudi prisotne v pravniškem razmišljanju in skladanju, tam ne prevladajo nad močnimi romantičnimi prvinami. Tako se kot nova ugotovitev kaže, da sta si po načinu razmišljanja in prepričanjih nazorsko precej bližje pravnik in skladatelj Krek, medtem ko se glasbeni ideolog Krek od omenjenih nekoliko razlikuje. Gregor Gojmir Krek (1875 – 1942) has established himself as esteemed Slovenian lawyer, judge, university professor, composer and critic in the first half of the 20th century. Along with favourable family circumstances his professional career was strongly impacted by his birthplace and historical conditions. Important legal and cultural centre of Habsburg monarchy, Graz, has shaped his legal-philosophical and musical belief system. Strong influence of historical school of jurisprudence during his legal studies is mirrored in his introductory lesson Pomen rimskega prava nekdaj in sedaj (Importance of Roman law once and now) and disquisition Organizacija sodišč po najnovejšem zakonskem načrtu (Court organization in latest statutory draft). Musical studies had given him excellent technical knowledge for composing and broad-mindedness. Of important influence are diverse social and political happenings, reflected in forging of national identities, cultures and languages as search for new bonds of affiliation and consequently duality between old ways and new ideas. Krek’s judicial career and preparation for academic career in monarchy has established him as aspiring lawyer needed for new future of Slovenian society and state, later justifying and exceeding all expectations. Due to his influence on acceleration of Slovenian music’s development with founding and editing of publication Novi akordi (New chords) he was key figure in Slovenian music at the beginning of 20th century. His viewpoints have not changed dramatically in the course of time. Being very progressive before the I. world war, they became less relevant afterwards. Krek’s distinct division between old forms and new ways, importance of continuous development and tradition as characteristics of modernism are intrinsic of his legal and musical works. Those were predominant in his critic and publicistic works, where even though incorporated in his legal thinking and composing, are not prevailing over strong romantic characteristics. This constitutes a new finding that lawyer and composer Krek were closer in mindset and beliefs, whereas ideologist Krek seems to stand slightly apart from mentioned

Zaključna seminarska naloga obravnava arhitekturni opus italijansko-brazilske arhitektke Line Bo Bardi in ga poskuša umestiti v kontkest povojne arhitekture v Braziliji. Lina Bo Bardi med povojnimi brazilskimi arhitekti zaseda mesto med bolj prepoznavnimi, zanimanje za njeno življenje in delo pa je začelo naraščati po njeni smrti v zgodnjih 90. letih 20. stoletja. Bo Bardi sodi v generacijo arhitektov, ki je v obdobju po drugi svetovni vojni nasledila pionirje brazilske modernistične arhitekture, oblikovno pa se njena dela razlikujejo tako od del brazilskih predhodnikov kot sodobnikov. V nalogi so po pregledu brazilske arhitekture druge in tretje četrtine 20. stoletja podrobneje obravnavana tri ključna dela Line Bo Bardi: Steklena hiša (Casa de Vidro), Muzej umetnosti v São Paulu (Museu de Arte de São Paulo) in kulturno-športni center SESC Pompéia, ki še danes v vsakdanjem življenju São Paula igrajo pomembno arhitekturno, kulturno in družbeno vlogo. Ob pregledu teh treh arhitekturnih spomenikov lahko sledimo arhitekturni evoluciji Line Bo Bardi, sočasno pa spoznamo ključne elemente in težnje, s katerimi je izoblikovala svojevrstno arhitekturno govorico. The BA thesis focuses on the architecture of Italian-born Brazilian architect Lina Bo Bardi and attempts to contextualize Bo Bardi's built work within the postwar architecture in Brazil. The interest in Lina Bo Bardi's life and work has been on the rise since her passing in the early 1990s, and today she is among the well known representatives of postwar Brazilian architecture. Lina Bo Bardi belongs to the generation of Brazilian architects that followed the pioneers of Brazilian modernism in the period after the Second World War, but her work differs stylistically from the work of her predecessors as well as the work of her contemporaries. The thesis includes an overview of Brazilian architecture in the second and third quarters of the 20th century, followed by a presentation of three crucial works of Bo Bardi, which to this day retain an important architectural, cultural and social role in the city of São Paulo: the Glass House (Casa de Vidro), the São Paulo Art Museum (Museu de Arte de São Paulo) and the sports and culture centre SESC Pompéia. The analyses of the three works provide an insight into the architectural evolution of Lina Bo Bardi and highlight the key elements and aspirations that shape Bo Bardi's distinctive architectural language.

Diplomsko delo temelji na analizi modernizma, kjer se osredotočim na primerjavo med suprematizmom in pop umetnostjo. V začetku natančno razložim razvoj in nastanek modernizma v umetnosti, kar nadaljujem z glavnimi likovnimi značilnostmi tega obdobja. Sledi predstavitev suprematizma, kjer namenim največ pozornosti analizi dela Črni kvadrat, ki ga kasneje primerjam z likovnimi značilnostmi pop umetnosti, kjer skušam na podlagi del pop umetnika Allana D'Arcangela najti skupne lastnosti. Po kratkem opisu pop umetnosti sledi predstavitev pojma apropriacija, kjer podam številne primere umetnikov, ki so apropriirali Malevičev Črni kvadrat in njegov suprematizem. Avtorski del je namenjen predstavitvi koncepta lastnih slikarskih del, kjer si izposodim Malevičev Črni kvadrat in ga združim s pop umetnostjo. V tem delu natančno razložim svojo odločitev za takšno združitev, predstavim ozadje svojih del in dela tudi na kratko likovno-teoretsko analiziram. This thesis is based on analysis of modernism, where I focus on comparison of suprematism and pop art. In the beginning, I thoroughly explain development and emergence of modernism in art, which I continue with key feature of this period. Then I specify features of suprematism and focus on the analysis of artwork Black square, which I later compare to common traits of pop art, specifically artworks of Allan'Arcangela. After brief description of pop art, I further analyse the concept of appropriation and list other notable artists who used this method on Malevich's Black square and his suprematism. In author's part of thesis, I explain the concepts behind my own artwork, mainly the fusion of Malevich's Black square and pop art. In addition, I write about why I chose to combine these two elements and how this fusion of different genres apply to my own artwork. Lastly, I analyse my paintings from art-theoretical point of view.