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Kazimir Malevich@テイト・モダン




 マレヴィッチの晩年の作品の一つらしい、「Peasant Woman(農婦)」。これを観て「あっ」と思った方、その通り。


 ラフ・トレイドが初期の頃に契約した(はず)女性だけのパンク・バンド、The Raincoatsのこのアルバム・ジャケット。ヘタウマ・テイストだから、バンドのメンバーの作品かと思っていた。が、全く予想もしていなかった邂逅に、マレヴィッチって誰なんだろう?、と俄然興味がわいた。そして、観に行けて良かった。テイトのウェブから。

Kazimir Malevich, an artist as influential as he was radical, cast a long shadow over the history of modern art. This, his first retrospective in thirty years and the first ever in the UK, unites works from collections in Russia, the US and Europe to tell a fascinating story of revolutionary ideals and the power of art itself.

Malevich (1879–1935) lived and worked through one of the most turbulent periods in twentieth century history. Having come of age in Tsarist Russia, Malevich witnessed the First World War and the October Revolution first-hand.

His early experiments as a painter led him towards the invention of suprematism, a bold visual language of abstract geometric shapes and stark colours, epitomised by the Black Square. One of the defining works of Modernism, the painting was revealed to the world after months of secrecy and was hidden again for almost half a century after its creator’s death. It sits on a par with Duchamp’s ‘readymade’ as a game-changing moment in twentieth century art and continues to inspire and confound viewers to this day.

Starting from his early paintings of Russian landscapes, agricultural workers and religious scenes, the exhibition follows Malevich’s journey towards abstract painting and his suprematist masterpieces, his temporary abandonment of painting in favour of teaching and writing, and his much-debated return to figurative painting in later life.

Bringing together paintings, sculptures, theatre and an unprecedented collection of drawings it offers a complete view of his career, celebrating some of the most progressive art ever made.

With generous loans from the Khardzhiev Collection, Amsterdam and the Costakis Collection, SMCA-Thessaloniki.

The exhibition is organised by Tate Modern, in collaboration with the Stedelijk Museum, Amsterdam and Art and Exhibition Hall of the Federal Republic of Germany, Bonn.






 早めに観に行って良かったと感じたこと、言い換えると不安が一つある。今回の展示作品の幾つかの作品はモスクワのトレチャコフ美術館とアムステルダムのStedelijk Museumから。マレーシア機撃墜で関係が冷え込んでいるオランダとロシア。EUとアメリカの制裁が厳しくなったら、ロシア側が作品を引き上げることもあり得るだろう。


People diary: How the Proms hit a political note

When last Sunday’s Prom is broadcast on television next month, there won’t be any yawning gaps in the audience – even though the Royal Albert Hall event was far from sold out.

Before conductor Valery Gergiev lifted his baton for the performance of Mahler’s Symphony No 6 by the World Orchestra for Peace – a broad international collective of leading musicians in honour of the United Nations – swathes of audience members had to be moved to fill the empty seats that were in full view of the television cameras.

According to our man in the stalls, there were almost 300 empty seats. Those in the upper balcony were encouraged to fill the most glaring gaps.

One “prommer” said: “With a star like Gergiev, top-drawer players and an orchestra with such an inspiring name, it should have been full. But it was anything but.

“The only reason I can think of for this is that people stayed away in protest at Gergiev’s politics.”

Gergiev is an ardent supporter of the Putin government, and counts the president as a close friend.

Last November, gay-rights campaigner Peter Tatchell interrupted an LSO concert at London’s Barbican, telling the audience: “Gergiev defends the new homophobic law that persecutes gay Russians.”



Malevich review – an intensely moving retrospective

Kazimir Malevich: revolutionary of Russian art – in pictures




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