Svet in nič: od Albertija k Maleviču

Abstract

Članek se osredotoča na sostavo Albertija in Maleviča, širše in poenostavljeno gledano renesančnega ali novoveškega in modernega in avantgardnega, zlasti skozi interpretacijo, ki jo ponuja delo francoskega psihoanalitika Gérarda Wajcmana. V ospredju je vprašanje analogije med sliko in oknom, ki se je odprlo v svet, z nastopom moderne dobe v umetnosti pa zaprlo ali odprlo v nič. Temeljna poanta pričujočega članka je torej ta, da nam ta sostava v resnici osvetljuje ali na drugačen način pomaga doumeti, kaj pravzaprav je prelom, ki ga lahko poimenujemo nastop moderne dobe v umetnosti, in sicer skozi prizmo slikarstva. Ena od posledic tovrstnega vzporednega branja novoveškega in modernega prinaša tudi določene posledice pri zajemanju vprašanja brezpredmetnosti ali brezpredmetnega sveta in objekta (niča kot objekta) v Malevičevem delu. Obenem pa tudi pri zajemanju vprašanja ateizma: je Črni kvadrat ateistična slika?

The article focuses on the juxtaposition of Alberti and Malevich, more broadly and simply put, it focuses on the juxtaposition of what was established with the Renaissance and of the modern and the avant-garde, especially taking into consideration the interpretation offered by the work of the psychoanalyst Gérard Wajcman. The key topic here is therefore the question of the analogy between a painting and a window that opens onto the world and that closes or actually opens onto nothing with the advent of the modern age in art. The article argues that this juxtaposition actually offers a different way to comprehend or view the break that was the inauguration of modernity in art, namely through the prism of painting. One of the consequences of this parallel reading of Alberti and Malevich is also a different take on the question of objectlessness and the object (the nothing as object) in Malevich’s work. This also holds for the question of atheism: Is Malevich’s Black Square an atheist painting?