»Skrivnost« Črnega kvadrata: obrnjena perspektiva

Abstract

Članek ponuja eno izmed možnih genealogij najbolj emblematične umetnine suprematizma in ruske avantgarde nasploh – Črnega kvadrata Kazimirja Maleviča. In sicer, od njegove prve »prikazni« v letu 2013 v kubofuturistični operi Zmaga nad Soncem do razvpite Zadnje futuristične razstave iz leta 2015. Prispevek tematizira vse v povezavi s teatrom oz. genealogijo gledališke perspektive, prek koncepta t.i. »obrnjene perspektive«, kot ga razvija ruski svečenik, mistik, filozof in matematik Pavel Florenski v istoimenskem delu iz leta 1922, ter koncepcij resničnega in lažnega gledališča v Nietzschejevem zgodnjem delu Rojstvo tragedije iz duha glasbe.

The article offers one of the possible genealogies of the most emblematic Suprematist artwork and the Russian avant-garde in general: Black Square by Kazimir Malevich. Covering the period from its first ‘apparition’ in 1913 in the Cubo-Futuristic opera Victory over the Sun to the infamous Last Futuristic Exhibition in 2015, it deals with everything related to the theatre or the genealogy of theatrical perspective through the concept of the so-called ‘reverse perspective’ as developed by the Russian priest, mystic, philosopher and mathematician, Pavel Florensky, in the eponymous work from 1922, and the conceptions of the real and false theatre in the Nietzsche’s early work The Birth of Tragedy from the Spirit of Music.