Črno na belem, nihilizem brezpredmetnosti

Abstract

Je mogoče s povezavo Malevičeve slike Črno na belem in trodimenzionalnimi obeležji na Ground Zero v New Yorku (kocka v kocki) kot manifestaciji militarističnega globalnega nihilizma problematizirati brezpredmetnost brezpredmetnosti suprematizma pri Maleviču? Kaj pomeni molk nereprezentabilnosti? Nezmožnost reči kaj o predmetnosti brezpredmetnosti ali pa zastiranje nihilistične resnice, ki jo interpretacija/simbolizacija vzpostavi kot točko nič govorice, prazni označevalec, falos, na ozadju katerega se razprejo ideološke manipulacije in mahinacije sodobne ekonomije? Je točka nič tisto, čemur Lacan pravi ekstimnost, tišina Realnega, ki se upira simbolizaciji, čeprav je tisto, kar uokvirja simbolno dejanje prej in potem, ali pa gre za potlačitev, agregat, ki poganja neoliberalni stroj? Kako na tem ozadju razpreti vprašanje govorice nezavednega kot označevalca onkraj simbolizacije, kako se v to vpiše samovita, zvezdna beseda Hlebnikova ali brezpredmetnost Maleviča? Kako brezpredmetnost problematizirati na ozadju političnega nezavednega ali v matrikah kozmičnega nezavednega? Kako v tem razbrati zgodovinsko usodo (Zahodnega) sveta.

Is it possible by connecting Malevich painting Black on white to the three-dimensional monumental squares within squares at the Ground Zero memorial park in New York to problematize the phenomenon of non-objectiveness of non-objectivity of the suprematism? What does the silence of the nonrepresentability expose? Impossibility to say anything about the non-objectivity, or does it hide the nihilistic truth, that a symbolization establishes as the point zero of language, an empty signifier, lacanian phalos, on the back of which the ideological machinations of the contemporary economy take place? Is the point zero the point that Lacan addresses as extymacy, the silence of the Real that rejects the symbolization as such, though it frames the symbolic act before and after, or rather do we deal with a suppressed aggregate that runs the neoliberal killing machine? Is it possible to address the language of the (political and cosmic) unconsciousness as the signifier beyond symbolization, and in what way the “self-sufficient (samovita) stary word” of Hlebnikov as well as non-objectivistic painting by Malevich fit into that?