Binary impressions - 0⎮1
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Only when the conscious habit of seeing nature's little nooks, Madonnas, and Venuses in pictures disappears will we witness a purely painterly work of art. I have transformed myself in the zero of form and have fished myself out of the rubbishy slough of academic art.
— Kazimir Severinovich Malevich
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Only when the conscious habit of seeing nature's little nooks, Madonnas, and Venuses in pictures disappears will we witness a purely painterly work of art. I have transformed myself in the zero of form and have fished myself out of the rubbishy slough of academic art.
— Kazimir Severinovich Malevich
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Malevich
refused the reproductive relation with the world of reality and liberated
painting from the burden of mimesis and representation, he called this new
approach to painterly expression - Suprematism. The inaugural exhibition of this new non-objective art was “The Last Futurist
Exhibition of Paintings 0.10”, presented on 19 December 1915 in
Petrograd. This exhibition became
the ground zero as one of the most important and
radical examples of artistic avant-garde.
0⎮1 is an homage, a reinterpretation, an expansion, an effort into pushing the non-objectivity further into the domain of the pure feeling. The work uses non-objectivity in order to create a universal language that transcends mere visual, thus realizing itself in sound as the culmination of abstraction.
The famous photo that documents the 0.10 exhibition is used as a source for the sound reconstruction of it, to sonificate Malevich’s paintings, liberating them from their materiality, transforming them into binary information, becoming an impression, pure wave, formless, immaterial.
0⎮1 is an homage, a reinterpretation, an expansion, an effort into pushing the non-objectivity further into the domain of the pure feeling. The work uses non-objectivity in order to create a universal language that transcends mere visual, thus realizing itself in sound as the culmination of abstraction.
The famous photo that documents the 0.10 exhibition is used as a source for the sound reconstruction of it, to sonificate Malevich’s paintings, liberating them from their materiality, transforming them into binary information, becoming an impression, pure wave, formless, immaterial.
There are 21 paintings in the historical picture
of the show, which, with the help of software, are transformed into sound. All
images are reproduced on the speakers simultaneously and separately. In the process of transforming paintings into sound,
the image is converted into zeros and ones (0 and 1), which is another
symbolic, but also theoretical link into non-objectivity of image. As in the
title, and in theoretical debates, for Malevich zero plays an important role. During
this binary transformation the work culminates into liberated nothing.
The subtitle of the exhibition “0.10” from 1915 is “The last futuristic exhibition” and concurrently the work “Binary impressions - 0⎮1” is a machine that produces data “noise”. It could be linked with Futurist machines for producing mechanical noise “Intonarumori”. While Futurist machines were mechanical, machine “0⎮1” produces sounds from digital data. The constant stream and exponential growth of the digital data is the imperative of our time.
Dimensions:
250x620cm
The subtitle of the exhibition “0.10” from 1915 is “The last futuristic exhibition” and concurrently the work “Binary impressions - 0⎮1” is a machine that produces data “noise”. It could be linked with Futurist machines for producing mechanical noise “Intonarumori”. While Futurist machines were mechanical, machine “0⎮1” produces sounds from digital data. The constant stream and exponential growth of the digital data is the imperative of our time.
Dimensions:
250x620cm