The scientific-exhibition project "AROUND THE SQUARE OR WAITING FOR A HERO" dedicated to the 100th anniversary of the creation of the "Black Square"

"New time" never comes on a calendar. Due to the “diffusion of centuries”, the realities of the third millennium are gaining visible features only now. The first century “after classical art” ended, the century of modernism and postmodernism whose symbolic starting point was the emergence and awareness of Suprematism.

Black Square, as a separate statement, as a declaration, appeared exactly one hundred years ago.

All this time around the "Black Square" spears broke.

It seems that by his power He suppressed the artistic libido of entire generations. One way or another, almost all the artistic gestures of the twentieth century are closely related to reflection on Malevich. He imagined, either as a symbol of a bright path, or as an image of a gloomy apocalyptic forecast… Alexander Benois wrote: “A black square in a white setting is not a simple joke, not a simple challenge, not an accidental little episode that happened in a house on the Field of Mars, but this one from acts of self-affirmation of that principle, which has the name of the abomination of desolation and which boasts that it will lead everyone to death through pride, through arrogance, through trampling on everything that is loving and tender. ”

The proposed project, by its declarative nature, is stylistically quite consistent with the behavioral structure in the cultural space of Kazimir Malevich himself. The past century “chewed and digested” the ideas of futurism.

The “Black Square”, as an icon of the twentieth century, died along with its religious postulates, as the idea of a “new spirituality” obstructed by time.

Having arisen as one of the backdrops for the scene of the futuristic opera by Mikhail Matyushin “Victory over the Sun”, he became a symbol of the death of “academic art”. In this sense, it is also symbolic to witness the "death of the Square" within the walls of the Academy.

The basis of the work on the organization of the exhibition space is the “Myth of the Minotaur”. Following the notorious “examples of rethinking” such as the “Divine Comedy” by Dante, where the Minotaur appears as “The Guardian of the seventh circle of Hell”, “House of Asterius” by Borges, or “The Helmet of Horror” by Pelevin, who narrates on behalf of a monster parallel to the world of Robert Sheckley, where Theseus and the Minotaur could not meet. The structure of the myth serves as a tool for analyzing the “Problems of the Black Square”. It is proposed to create a labyrinth of the “Black Square” where the latter appears as the Minotaur awaiting the next sacrifices, and the works presented are evidence of the torment of the dead victims.