Burutapen's insight:
Visiting Malevich's exhibition at the Tate modern is a journey through a significant part of the history of Europe . One that has greatly influenced many who followed.
From architects to artists, it is easy to see the importance and influences that Malevich's work had in the years that followed him.
His superhero-like costume designs for the opera "Victory over the sun" show best the spirit of futurism that preceded the first world war and which abrupt end is captured by Malevich's defiant full stop: his Black Square.A powerful icon which signified a new beginning for art and which now feels fragile and endearing thanks to the cracks on its surface.
Several examples stayed in my mind. For instance: his Danvincian 1915 sketch titled "Reapin woman" , the 1923 Frank Lloyd Wright-esque suprematism architecton model "Alpha" , his Zaha-esque suprematism compositions, the concept of "cezannism" I saw noted down on his students' sketches or his 1930 faceless "peasants" (contemporary and reminiscent of Grant Wood's iconic "American Gothic").
However, the one experience that will stay with me above all is the unsettled feeling I experienced when I entered the last room of the exhibition . In that room, all his 1930s portraits stared at me like ghosts from an anachronistic past whose gathering I was not sure to have been invited to.
