Our paper approaches the theoretical and pictorial work of Kazimir Malevich, insofar as the limits between painting, writing, thinking and being seem somewhat vague for this Kievan artist. Without necessarily assuming such relation as natural or self-evident, in Malevich we find that painting and thinking, artistic creation and philosophical reflection are not opposed, for these processes are the result of human creative activity and they all share their non-objectivity. Consequently, Malevich developed an entire research around the question of representation and mimesis in art, eventually proposing a radical defense of abstraction. For this purpose, the avant-garde, revolutionary gestu- re is staunchly assumed and destruction becomes fundamental in order to continue creating. The- refore, the zero becomes the axis of his suprematist project, that bareness of the deserts by means of which every non-objective creation is developed.
Attached document: Malevich.pdf