Malevich and Khlebnikov: Suprematism Reinterpreted

To man’s actual existence there belongs a surrounding world, just as the statues of a god have a temple. This is the reason why we must mention the manifold threads which link the ideal (or the beauty of art) to externality and are drawn through it. . . .

—G.F. Hegel, Lectures on Fine Art

IN JUNE 1915, FOR THE occasion of the last Futurist exhibition in St. Petersburg, Kasimir Malevich published a treatise entitled From Cubism and Futurism to Suprematism: The New Pictorial Realism, which asserted that “. . . all painting past and present before Suprematism was reduced to servitude to the forms of nature and is looking forward to its liberation in order to speak its proper language. . .” Later, in the Non-Objective World (1928) Malevich wrote: “Art no longer cares to serve the state and religion. It no longer wishes to illustrate the history of manners. It wants to have nothing further to

to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.