1915 -1923 · Pure form, white space and non-objective feeling

With suprematism, Malevich frees square, cross, rectangle and triangle from any obligation to represent: their tensions on white become the very event of painting.

In December 1915, Kazimir Malevich presented a radical ensemble in Petrograd during the Last Futuristic Exhibition 0.10. The Black Square is placed high in a corner of the room, in the traditional location of the domestic icon. This installation asserts less a void than a beginning: painting can be constructed with shape, color, surface and sensation without imitating the visible world. Malevich calls this language "suprematism", claiming the supremacy of pure feeling. The first compositions use black square, cross and circle on a white background in an apparently static balance. From 1916, inclined rectangles, yellow, red and blue create more dynamic states, such as in Supremus no. 58 or compositions evoking the plane in flight. White is not a neutral background; it becomes a space without horizon where shapes seem to float, accelerate or dissolve. Suprematism extends to drawings, books, decorations and architectural projects called Architectones. After 1918, Malevich pushed the reduction to White on White, then devoted himself more to teaching and theory. In late figures, suprematist principles survived to White on White, then devoted themselves more to teaching and theory. In late figures, suprematist principles survived into fields, clothing and small signature squares. Black square, Black cross, Supremus no. 58 and Airplane in Flight allow us to read the complete movement of the system, from iconic origin to space dynamic. The "Suprematism of Kazimir Malevich" selection notably compares Black Square and Black Cross. His reading favors space.

Suprematist white is not empty: it is the space without horizon where a form can become weight, direction and feeling.