One analogy that seems particularly striking could be drawn between Nietzsche and Kazimir Malevich. Indeed, I am tempted to suggest that, at least to a certain extent, Nietzsche is to philosophy what Malevich is to art. “So far, artists have only been portraying, or representing, the world and its objects in different ways, but the time has come for us to create something in this world” – this is how one could express Malevich’s motto. He declares his Black Square to be the first new form that was ever created, the first artistic creation in the strong meaning of the word: it is nothing less than the “birth of the painting-surface.” A painting-surface or a “plane” is not an object that could be found anywhere in the world (and then reproduced or represented in a painting); it exists only as a painting. This is not to say that the painting represents some imaginary fantasy-object that exists nowhere in reality, only in the fictive domain of the painting. On the contrary, Black Square introduces a new object in reality, this new object being precisely the painting-surface as object. A painting such as Black Square is the very materiality of the painting-surface. Therefore, “any painting-surface is more alive than any face from which a pair of eyes and a grin jut out,”‘ and Suprematism is “the beginning of a new culture.” In relation to Malevich, one should stress that his project was far from being simply abstractionist; it was not about purifying the world of images or representations up to the point where nothing is left but its pure form. Rather, his project was to create a form that could count as the first “content” or object created by painting from within its own practice-the “painting-surface” or “plane” being, according to Malevich, precisely this: namely, a painterly object par excellence.
from Alenka Zupancic’s:
The Shortest Shadow:
Nietzsche’s Philosophy of the Two
Is this the thing itself immanently registering its movement on the plane of the painterly surface as it rises from the gap as an Object replete with all its objecthood intact as the subjectal manifestation of the ‘plane of immanence’? Or is this nothing less than the geometry of the Void? Maybe this is the gap itself that gives rise to suture, the ontological crack that cuts through reality itself: because we cannot take in the whole of reality we are blinded by its immensity, situated within its dark concavity where we continuously fill it with a sea of fantasy… but even as our gaze penetrates the black darkness of this object we discover that we are falling into our own abyss of subjectivity rather than the Real, caught between sex and death we become destitute of the illusions that have sustained us and suddenly astonished we grasp for the first and last time the jouissance of life.