“Ɖs epic šo têcs Cazimir Małevič’z radicl pêntñ v a blac sqr – frst šôn in Ruša 100 yirz ago – az ɖ embḷm v a ny āt n a ny ssayti. Ɖ xibišn fīčrz ovr 100 ātists hu tc p its leġsi, fṛm Buenos Îres t Tehran, Lundn t Brlin, Ny Ywc t Tel Aviv. Ɖer pêntñz, fôṭgrafs n sculpčrz simḅlîz Moḍnizm’z ytôpı̣n aspirešnz n brêcdânz.

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Installation view. Photo: Steven White

Prizntd croṇlojcli ɖ šo foloz for ʈīmz:

Ytôpia z xprest ʈru Małevič’z blac sqr, ɖ pṛjenitr v ny isʈetc n ṗlitcl hrîznz, sizd bî ātists fṛm Vladimir Tatlin t Eliu Oičisīca.

Ācitectonics priznts flôtñ jioṃtriz ɖt pṛpoz ny sošl spêsz az imajind bî Łubov Popovā or Pīt Mondrian n Liym Gilic.

Cmynicešn spredz ɖ mesij t ɖ masz in manifstos n avãgād grafics.

Ɖ Evrīde imbedz rūtīnz n objcts in ɖ isʈetcs v prôgres az obzrvd in a txtîl bî Sôfi Tâbr-Āp or ɖ abstract mtifs pêntd on Ṗrūvı̣n loriz capčrd bî Armando Andrade Tudela. Midl Īstn ātists sč az Nazgol Ansarinia lnc Moḍnizm wɖ Aṛbic n Pršn decṛtv āts; ẇl Westn ātists sč az Luis Balts, Pītr Hali or Jeni Holtsr critīc ic̣nomic n ṗlitcl abstraẋn. Advnčrz v ɖ Blac Sqr xplorz hâ abstract āt hz travld wrldwîd, prmietñ âr lîf n tîmz.”

Black Quadrilateral, undated, by Kazimir Malevich. Photograph: Greek State Museum of Contemporary Art – Costakis Collection, Thessaloniki

Dan Flavin’s ‘Monument’ for V. Tatlin, 1966-9. Photograph: Tate Max Bill’s Simultaneous Construction of Two Progressive Systems, 1945-51. Photograph: Private collection, courtesy of Annely Juda Fine Art Facebook Twitter Pinterest Homage to the Square: Post Autumn, 1963 by Josef Albers. Photograph: Jack Kirkland Collection Facebook Twitter Pinterest

Swatch of Snap Fasteners 11, 1964 by Bela Kolárová. Photograph: Estate of Bela Kolárová

Max Bill’s Simultaneous Construction of Two Progressive Systems, 1945-51. Photograph: Private collection, courtesy of Annely Juda Fine Art

Homage to the Square: Post Autumn, 1963 by Josef Albers. Photograph: Jack Kirkland Collection

Left: Light Signs #1 (Korea) (1995) by Gabriel Orozco; right: Black and White, Suprematist Composition (1915) by Kazimir Malevich. Photograph: Marian Goodman Gallery, New York/Moderna Museet, Stockholm

Left: Composition with Yellow, Blue and Red (1937) by Piet Mondrian; right: Metaesquema 464 (1958) by Hélio Oititica. Photograph: Tate/courtesy Hélio Oititica

Dóra Maurer, Seven Rotations 1–6, 1979. Collection of Zsolt Somlói and Katalin Spengler © Dóra Maurer

Peter Halley, Auto Zone, 1992. Collezione Maramotti, Reggio Emilia.

Gustav Klutsis: Design for Loudspeaker No.5 1922. Greek State Museum of Contemporary Art – Costakis Collection, Thessaloniki © ARS, New York and DACS, London 2014

Lyubov Popova: Painterly Architectonic, 1916. Scottish National Gallery of Modern Art, Edinburgh

GAḶRI WEBSAIT

ẆT ĐE SE

Ben Lūc, Đ LUNDN ĪVNÑSTANDD, 9 Māč 2015
Mîcl Projr, Đ NY STÊTSMN, 29 Jaňri 2015
Ned MConl, ĐZ Z TMORO, 28 Jaňri 2015
Pwl Blac, ĀTLIST, 19 Jaňri 2015
Lwra Cumñ, Đ OBZRVR, 18 Jaňri 2015
Mêzi Scidmor, IT’S NÎS ĐT, 15 Jaňri 2015
Êdrı̣n Srl, Đ GĀDỊN, 14 Jaňri 2015
Rêčl Hômz, Đ METROṖLIST
Cris Wêwel, TÎM ÂT

01/04/2015