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to let them go without sentimentality or remorse. But in the case of the former text, Malevichs polemic was directed not against the conservative lovers of the past, but against the Constructivist builders of the future. Both of these artistic practicesthe most radical of the Russian avant-gardewere also non-participatory, since writing sound poetry and painting squares and triangles are obviously not activities that would be especially attractive to a wider audiences. However, Malevich is not an Angelus Novushe is not shocked by what he sees in the rearview mirror. 3, socialist industry as a wholewithout any additional artistic interventionalready showed itself as good and beautiful because it was an effect of the radical reduction of every kind of unnecessary, luxury form of consumption, including the consuming classes themselves. It was the last public appearance of the poet and founder of the group before he disappeared forever in prison. Time and again Malevich contends that there is no isolated, secure, metaphysical or spiritual space that could serve as a repository of images immunized from the destructive forces of the material world.
After all, what is revolution? At that time, the new Soviet government feared that the old Russian museums and art collections would be destroyed by civil war and the general collapse of state institutions and the economy. And if the answer is yes, can the Russian avant-garde function as an inspiration and model for contemporary art practices that try to transgress the borders of the art world, to become political, to change the dominant political and economical conditions of human existence,. Permanent change is our only reality. Malevich often speaks in his writings about materialism as the ultimate horizon of his thinking and art. But Malevich painted in several styles at once beginning in 1910. 1928 was the year when the defamation of the peasantrythe last remaining independent group of the population after the 1917 Revolutionas the most reactionary element of Soviet society began. We are delighted to continue our ongoing focus of exploring dialogues between historical artists and the current generation.
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