Experimental and Research work of Kasimir Malevich in the Field of Artistic Culture

Abstract

The need to rethink the theoretical heritage of Malevich and its influence on the cultural process of Ukraine in the 20s and 30s of the 20th century, which is no less important than his art works, proves the research`s relevance. The scientific novelty of the article is to broaden the discourse of Casimir Malevich’s presence in the Ukrainian cultural process in the end of the 20s and beginning of the 30s of the XX century, as well as in clarifying the role of his experimental research in the field of artistic culture. The article is based on the historical method, which is expressed through concrete historical factors to determine the theoretical heritage of K. Malevich, his place in the history of art of the avant-garde direction Suprematism and the development of artistic culture in general. Textual and comparative research methods were used to study the theoretical articles-lectures by Kazimir Malevich published in the Kharkov pan-futurists’ journal “New Generation” in 1928-30. The theoretical heritage of Malevich is no less important than his art works. However, today the theoretical works of Malevich in Ukrainian scientific culture have not been sufficiently studied, and the lack of his developments in artistic education proves it as well. Conclusions. It has been proved that the experimental and research work of Kazimir Malevich became an important evidence of the era and the fixation of a new vision in the field of artistic culture. Teaching theoretical developments at Kyiv Art Institute, its publication in the “New Generation” has shown a high readiness for dialogue and renewal of the Ukrainian artistic environment. Kazimir Malevich enriched the history of art with a new term: “non-objectivity”, which opposed the fine art, which task is to reproduce the objectivity of the world. Malevich’s non-objectivity was, in essence, a new method of interpreting art, shifting the emphasis from the definition of content to the definition of the form of art, its essence (“as a suchness”). In fact, he, as a theorist, revealed the patterns of development of artistic form, explaining the importance and sequence of the emergence of each new direction: from Cezanne to Cubism, from Cubism to Futurism and Cubofuturism; from Cubofuturizm to Suprematism.