El cero de las formas. El Cuadrado negro y la reducción de lo visible
Abstract
Compared to the modernist idea that modern art represents the apotheosis of the visual and the glorification of the gaze, this article shows an iconoclastic and invisible genesis of modern art in abstraction. The beginnings of abstraction were related to a discredit of the visible world and the denial of the pleasure of the regard. This is a tendency that has to do with a deep reorganization of vision throughout the 19th century which evolved towards the 20th century. This text focuses on a work which constitutes one of the best examples of suspicion on vision: the famous Black Square, painted by Malevich at the beginning of the 20th century. It is a painting that, besides representing Malevich’s radical entrance into abstraction, it shows, in an extreme way, some kind of antivisual thought. It is the same thought that, as an arrow, flies through modern art from its birth.Downloads
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