Page 48 - Studio International - February 1974

The show must (p. 134) they are an integral part of
the exhibition and moreover form its
go on conclusion. This presentation risks
misleading the visitor. In fact, a more
Some remarks on the Malevich detailed research would have allowed
exhibition at the Guggenheim the organizer of the exhibition to learn
Museum. that these works in no way form part
Since the memorable rediscovery of of the researches carried out by
the paintings of Kazimir Malevich, Malevich in Leningrad, but refer to
kept in Germany from 1927 by the those of his friend Matiushin
architect Hugo Haring, our knowledge (1861-1934), as was already
of the painting and theories of the published in France two years ago.
creator of non -objective painting has Between 1917 and 1927, Matiushin
considerably increased. Camilla directed an experimental studio in
Gray's revealing book 'The Great Petrograd. This studio, created
Experiment : Russian Art 1863-1922' initially within the framework of the
(London, 1962) opened up a whole Free Studios (Svomas) was later
artistic world, unappreciated and integrated into the Institute for
prohibited for ideological reasons. Artistic Culture (GIN H U K) and
This pioneer work, establishing a named 'division for the study of
basic articulation for the birth organic culture', a theme which had
of Suprematism (the role of the opera occupied Matiushin from 1913-
Victory over the Sun, performed in 1914.4 There, research was carried
Petrograd in 1913) was followed out on the new theories of the
during the 60s by several studies, perceptive interdependence of forms
completely renewing our knowledge and colours. From the end of 1921,
of the artistic evolution of Malevich ; a Matiushin's group was called
first collection of texts was published 'Zorved' (sharp vision) and in
in English. ' by Troels Andersen in addition to its leader included painters
1968, and in the same year of the Ender family (Boris, Maria, and
Miroslav Lamac's revealing article Ksenia), Grinberg, Erlih and (around
appeared. As well as a new and very 1923) Pavel Mansourov. They
rich iconography, the latter proposed exhibited together for the first time in
his interpretation of the complicated 1923 and published their manifesto
path which led Malevich to The Black Zorved. Matiushin's work, of which
Square of 1915. It was only after 1968 several dozens of similar Colour
that the Western world began to Charts are known today, was carried
appreciate the real significance of the out according to the principle of a
creator of Suprematism. The psycho-sensorial perception, the
'Catalogue Raisonné of the Berlin artist's impressions having to go
Exhibition, 1927' by Troels Andersen, beyond the stage of representation to
published in 1970 by the Stedelijk Malevich in 1927 translate themselves in sequences
Museum of Amsterdam, formed the with an abstract structure. Beginning
documentary summing up of this first evolution, so rich in its different Certain weaknesses dim the from certain symbolist
great stage in Malevichian discovery. phases, is clearly voiced in the brilliancy of this exhibition on the level presuppositions, which were rapidly
However, there was no important sequences of the Frank Lloyd Wright of scholarship. The whole left behind, Matiushin moved towards
exhibition of Malevich's work spiral. The different moments are undertaking betrays a haste that can a new visual conception of the world.
during the 60s. Then the Chauvelin perfectly intelligible and the very in no way be justified in 1973 when The optical objectivity of the
gallery in Paris, in December beautiful arrangement of the works Kazimir Malevich's work has been perceptible environment of the painter
1970, had the audacity to present allows even an unprepared public to known, exhibited and published for must be perceived with the help of
an exhibition of Malevich's grasp without difficulty the successive more than 15 years (since 1957). If physiological exercises, developing
drawings, accompanied by a stages of Malevichian thought, which Troels Andersen's work (his 1970 the perception potential. The second
catalogue worthy of the name. The can either be observed separately in catalogue) remains the most stage of these researches, their
Guggenheim Museum's initiative in the different alveoles of the spiral, or complete work of reference to this theorization, is the most interesting.
mounting its current Malevich show, taken in at a single glance. Thanks to day, this does not justify the museum's Starting from the rhythmic study of
in response to a completely this discerning arrangement, the jerky dispensing with the publication of a auditory and visual perceptions, the
contemporary interest, is greatly to be rhythm of this dramatic evolution catalogue for the occasion, or even a painter rapidly reaches a theory of
admired. It is the first Malevich which moves from the intoxication list of works. For although the colour, whose richness is completely
exhibition in the USA, where until with wild colour which overflows the majority of the pictures2 feature in surprising. (The diagrams exhibited in
now the collection of European works strong forms of the years 1910-1911 Andersen's publication (1970) and New York only offer a very small
which had circulated widely in the to the cubist monochrome, to return are reproduced in it, the drawings fraction of the 'Zorved' group's
European museums between 1957 triumphantly via 'a-logical' painting exhibited in New York in 1973, as researches.) Its system of the
and 1961, had not been seen. The to the explosion of Suprematism, can well as certain engravings, are not. complementarity of relationships
New York scene, too busy with its be understood without difficulty. Even the work in the Stedelijk abolishes the reference to a single
own dynamic expansion, has rather Only the supreme moment is missing, Museum catalogue, on which the authoritarian aesthetic law, to
neglected Malevichian Suprematism, the famous Black Square, which we Guggenheim Exhibition is based, has propose the logical principle of
so the present exhibition has the should have liked to see feature in this been hurriedly carried out, witness the several possible solutions, open like
savour of a real discovery. panorama, even if only as a hanging (upside down) of Aeroplane the system of aleatorical music (its
For the European visitor, with his photograph. The revolutionary break Flying 1915 (Coll. MOMA, New York, system proposes a logic of the
knowledge of the magnificent that this work makes in the pictorial No. 49 Andersen),3 an embarrassing combinable similar to that of serial
collection at the Stedelijk Museum of thought of our century would justify mistake on the part of a museum. music which is moreover its
Amsterdam, and the numerous the inclusion, a 'sacrilege' in the eyes The most serious fault in the contemporary.) One of the new
exhibitions of the Russian avant- of the collectors, but to the art hanging of the exhibition is in the final principles of this 'gymnastics of
garde shown in various European historian the filling of an inexcusable sequence where the Pedagogical vision' was the widening of the angle
galleries and museums since 1957, gap. Its presence would have given Diagrams (Colour Charts) catalogued of view, to be seen clearly on the
the juxtaposition of the works from another conceptual dimension to the by Andersen in 1970 as 'Appendix 1' diagrams exhibited at the
European collections and those from undertaking. Nevertheless, even with (pages 134 to 136) are exhibited. Guggenheim Museum. The
across the Atlantic constitutes an this lack the New York exhibition is Despite the unresolved ambiguity of relationships between form and
exceptional opportunity to embrace at one of the most extraordinary Andersen's text indicating that 'There colour, seen in relation to the
a glance the evolution of Malevich. exhibitions of one artist's work of pa st is no evidence that Malevich is principle of extended view, was
Actually this tormented and varied years. responsible for them in any respect' developed at the end of the 20s and