https://www.peren-revues.fr/revue-k/687 Numéros fr mer., 10 janv. 2024 15:59:08 +0100 mar., 30 avril 2024 14:48:34 +0200 https://www.peren-revues.fr/revue-k/687 0 https://www.peren-revues.fr/revue-k/695 jeu., 11 janv. 2024 09:20:46 +0100 https://www.peren-revues.fr/revue-k/695 https://www.peren-revues.fr/revue-k/696 jeu., 11 janv. 2024 09:26:33 +0100 https://www.peren-revues.fr/revue-k/696 https://www.peren-revues.fr/revue-k/697 As a critical moment of the Bolshevik revolution, which suddenly lost its collective signifier, Lenin’s death was soon claimed in its political significance by the Immortalization Commission. In addition to doing its utmost for the preservation of the body, it also instituted a plan of “architectural immortalization”. Although the architect in charge was explicitly inspired by Malevich’s Suprematism, the latter will strongly deny any link with such an undertaking. This contribution aims to address, through an examination of the notes dedicated to Lenin, the attempt made by Malevich to counter the foundation of a new political theology. jeu., 11 janv. 2024 09:56:09 +0100 https://www.peren-revues.fr/revue-k/697 https://www.peren-revues.fr/revue-k/702 Between 1921 and 1922, while in Vitebsk, Malevič wrote three theoretical texts that help to understand his particular position within Soviet Russia. His critique of the catastrophic nature of “practical realism” and the exaltation of inactivity underlie a condemnation of instrumental reason and progress at the basis of machine civilization but also a warning to the new Soviet regime not to fall into the trap of productivism so as not to betray the promises of revolution. jeu., 11 janv. 2024 10:21:33 +0100 https://www.peren-revues.fr/revue-k/702 https://www.peren-revues.fr/revue-k/709 This essay aims to investigate the dynamics of the disappearance of the alienated, merchandisable and fetishsed art product, no longer necessary for a life that becomes art in the political activism shared by the Suprematist and Situationist circles, considering also the formal analogies, which, decades later, confirm the convergence between this disappearance bordering on iconoclasm and the revolutionary perspective. jeu., 11 janv. 2024 10:52:34 +0100 https://www.peren-revues.fr/revue-k/709 https://www.peren-revues.fr/revue-k/714 This article studies the way in which the Suprematist paintings of Kazimir Malevitch inspire a poem to Jacques Dupin in 1975. The sharing of a broken poetics is accompanied by an insurrectional and ethical fraternity focused towards the opening and the renewal of the aesthetic creation. Malevich teaches the poet the virtues of an senseless order in order to offer an art freed from convenience and oppression, while leading him to question the foundations of the poem. Malevich's paintings can be considered much more than a support or an object of study for a poet art critic, but rather as a gift that the poet makes to the poem, and whose fecundity offers ontological, political and ethical revelations. jeu., 11 janv. 2024 11:42:02 +0100 https://www.peren-revues.fr/revue-k/714 https://www.peren-revues.fr/revue-k/724 The contribution examines four topics in Malevich’s writings on film: the images of rubbery eroticism that are striking in Malevich’s discussion of film; the opposition of dead and alive, attributed to painting and film; the connection of dynamics and perception and disconnection of mimesis and perception and the way how Malevich conceptualized it for film and painting; Malevich’s effort to elaborate a new language of description for visual and literary phenomena, to find the language that fixes the transition from visuality to literacy and vice versa. ven., 12 janv. 2024 09:13:45 +0100 https://www.peren-revues.fr/revue-k/724 https://www.peren-revues.fr/revue-k/1316 This article considers Kazimir Malevich's Suprematist Composition: White on White, painted in 1918 (Moma, New-York), in relation to Herman Melville's novel Moby-Dick, and more specifically to the white whale that constitutes its focal point. The white square and the white whale are destituting entities, one of painting, the other of literature, by their whiteness and materiality. But the destitution that they generate is a first step to access a higher dimension. mar., 02 avril 2024 11:41:59 +0200 https://www.peren-revues.fr/revue-k/1316 https://www.peren-revues.fr/revue-k/729 ven., 12 janv. 2024 09:28:09 +0100 https://www.peren-revues.fr/revue-k/729 https://www.peren-revues.fr/revue-k/730 ven., 12 janv. 2024 09:50:58 +0100 https://www.peren-revues.fr/revue-k/730 https://www.peren-revues.fr/revue-k/732 ven., 12 janv. 2024 10:11:19 +0100 https://www.peren-revues.fr/revue-k/732 https://www.peren-revues.fr/revue-k/734 ven., 12 janv. 2024 10:42:50 +0100 https://www.peren-revues.fr/revue-k/734 https://www.peren-revues.fr/revue-k/736 ven., 12 janv. 2024 11:51:43 +0100 https://www.peren-revues.fr/revue-k/736 https://www.peren-revues.fr/revue-k/719 The essay aims to reconstruct the relationship between Malevič and Ejzenštejn toward their essays on cinema and picture. By examining the words of two important actor of art life in post-revolutionary Russia, the essay lets emerge two different conception of art and its tasks in the newborn communist society. jeu., 11 janv. 2024 12:02:27 +0100 https://www.peren-revues.fr/revue-k/719 https://www.peren-revues.fr/revue-k/738 In this essay a light will be shed on Kazimir Malevich’s post-1927 so-called return to figurative painting, through the rereading of some of his texts, particularly God Has Not Been Cast Down (1922) and The Theory of the Additional Element (1926) as well as comparing them to those of the Formalist Yuri Tynianov from the same years. The hypothesis of a “wcthird way” beyond Suprematism and Socialist realism will be dismissed in favor of an interpretation consistent and coherent with the artist’s cosmic, rebel, and fluid aesthetic vision. ven., 12 janv. 2024 13:40:35 +0100 https://www.peren-revues.fr/revue-k/738 https://www.peren-revues.fr/revue-k/745 This paper is an analysis of Malevič’s Suprematist works, interpreted as a dismissal of the symbolic order of vision within the image. In this regard, Malevič’s operation will be described as a politics of the gaze in the face of future catastrophe, guided by the question: how can we imagine future catastrophe if we only have images of the past? It will thus be seen how, by taking this paradigm of vision seriously, it will be possible to imagine a politics of the gaze in the face of catastrophe, through the icon. ven., 12 janv. 2024 14:07:25 +0100 https://www.peren-revues.fr/revue-k/745 https://www.peren-revues.fr/revue-k/751 With the exhibition of the monochrome White on White, Kazimir Malevič completes the Suprematist forms translation onto canvas. Following the declared exhaustion of painting expressive possibilities, his attention turns to the world transformation according to the Suprematism principles. The dilemma remained on how to overcome the assumption that art is exempt from any kind of utilitarian impulse that was ill-suited to the functions of architecture. This text attempts to position Malevič’s architectural theory as essential postulate for the construction of the future city. ven., 12 janv. 2024 14:35:16 +0100 https://www.peren-revues.fr/revue-k/751 https://www.peren-revues.fr/revue-k/756 This paper aims to reflect on Malevich’s “Renaissance” period in relation to suprematism revolution. In particular, the paper aims to comment Malevich’s Female worker (1933) seen as an icon. Female worker’s fundamental motifs – motherhood, black, absence, shadow; the signature: a little square – invite us to reflect on artistic and politic revolution of late Malevich. ven., 12 janv. 2024 15:16:45 +0100 https://www.peren-revues.fr/revue-k/756 https://www.peren-revues.fr/revue-k/762 The contribution seeks to think of Malevič’s painting, thought, and gesture as a revolutionary threshold between destruction and destitution. For this reason, it investigates some theses from one of his 1921 essays, Inaction. ven., 12 janv. 2024 15:30:31 +0100 https://www.peren-revues.fr/revue-k/762 https://www.peren-revues.fr/revue-k/694 mer., 10 janv. 2024 16:05:45 +0100 https://www.peren-revues.fr/revue-k/694