LA VIE ABSTRAITE I : LE TEMPS TRANSFORMÉ 2015

DIAZ CONTEMPORARY TOTONTO, 2015

2 PROJECTIONS VIDEOS SYNCHRONISÉES 4K, SON , 40 min

Ce film fait écho au travail du peintre Kazimir Malevitch, fondateur du mouvement suprématiste, et au changement radical de son approche plastique qui passa d'une observation de la réalité à une abstraction spirituelle pour revenir à la fin de sa vie à une interprétation figurative.  Le film reprend le symbole du carré noir qu’il utilisa une première fois comme toile de fond pour l’opéra Victoire sur le Soleil, un projet collaboratif de Malevitch, et qui sera à l'origine du tableau Carré noir sur fond blanc, symbole du suprématisme. Victoire sur le soleil chante la supériorité de l’homme sur la nature et incarne le rejet de l'imitation de la nature à la faveur d'une suprématie du sentiment pur.

La vie abstraite -- a 45-minute, two-channel video projection, contextualizes the transition from an objective vision of nature to pure abstraction, echoing the working methodologies of Kazimir Malevich, founder of the Suprematist movement, marking the ways in which his vision shifted from observation of the real to spiritual abstraction and back again to a figural interpretation. The Futurist opera, Victory Over the Sun, was a collaborative project where Malevich created the set design, including a special black square curtain -- the genesis of the black square monochrome, and the Suprematist movement. Victory Over the Sun is a rejection of the imitation of nature in favour of ''the supremacy of pure feeling,'' where the visual phenomena are in themselves meaningless. The theatre piece illustrated the idea of taking down the sun and locking it in a concrete box to create a new form of light, demonstrating technological superiority over the old world. After his brutal arrest in 1930, Malevich returned to a figurative approach to painting, imitating established styles. This transition in his work from figurative painting to abstraction and back again was provoked by the political power of the Soviet Union. Suprematism was a way to evacuate recognizable forms to pure abstraction, in part to avoid usefulness in the Communist propaganda that sanctioned socialist realism.

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