record

Thesis Info

LABS ID
00922
Thesis Title
Kazimir Malevich: Approaching the New System
Author
Irina Lyubchenko
2nd Author
3rd Author
Degree
Doctor of Philosophy
Year
2020
Number of Pages
277
University
Ryerson University and York University
Thesis Supervisor
R. Bruce Elder
Supervisor e-mail
belder AT ryerson.ca
Other Supervisor(s)
Committee: Linda Dalrymple Henderson (The University of Texas at Austin; external committee member), Isabel Pedersen (OITE; internal committee), and Seth Feldman (York University; internal committee)
Language(s) of Thesis
English, Russian
Department / Discipline
Communication and Culture
Languages Familiar to Author
English, Russian
URL where full thesis can be found
https://drive.google.com/file/d/1iuCKbChrJYfkwed-4Zedkc6SwZtMNL7T/view?usp=sharing (Note: Library link will be available shortly)
Keywords
Russian avant-garde, Kazimir Malevich, mathematics, fourth dimension, infinity, set theory, imaginary numbers, Cosmism, electromagnetism, thermodynamics, film, mysticism, esotericism
Abstract: 200-500 words
This dissertation examines Kazimir Malevich’s art and writing with a view to establishing that they combine a strain of strict methodological reductionism with an equally well-marked esotericism. It strives to prove that although this feature of Malevich’s work was common among vanguard artists and thinkers, there are also highly idiosyncratic qualities in the way Malevich reconciled these two threads. An ensuing goal of this work is to propose how to complete an unfinished 1927 film script by Kazimir Malevich titled “Artistic and Scientific Film—Painting and Architectural Concerns—Approaching the New Plastic Architectural System.” The question regarding the confluence of science and mysticism in Malevich’s work—the primary concern of this dissertation—requires tracing in the artist’s art and writings the presence of ideas belonging to these worldviews traditionally considered to be antithetical to each other. This dissertation establishes Malevich’s relationship with mysticism and strains of thought that resemble scientific content and approach. Among the latter, this work investigates Malevich’s interest in the geometry of the fourth dimension, draws parallels between the artist’s concern for visualizing infinity and the problems of set theory, and examines the role of imaginary numbers in Malevich’s worldview. To complete the analysis of Malevich’s exploration of the concept of space prominent in the aforementioned mathematical themes, this dissertation examines the artist’s interest in investigating the space of the cosmos. It also establishes that Malevich’s ideas were not only influenced by the scientific advancements in electromagnetism but also by the theories of thermodynamics, which together with the former relay a view of the world where all processes, organic and inorganic, are understood as the product of the transformation of energy. In Cubism and Futurism: Spiritual Machines and the Cinematic Effect, R. Bruce Elder draws attention to the early twentieth-century thinkers’ view of cinema as an electromagnetic machine. This dissertation examines Malevich’s relationship with the cinematic art and its reception in Russia during Malevich’s most productive years. This work concludes with having satisfied its larger objective: to envision a possible scenario of how Malevich’s unfinished script could unfold. It contains the copy of the original script, its proposed finale, and an essay that outlines how my investigation of Malevich’s intellectual landscape informed the decisions involved in inferring the concluding shot sequences of the artist’s only cinematic work.