The presentation of zones of color as forms in themselves created one of the most radical breaking points in the history of art. Exactly a hundred year ago, in December 1915, “0,10. The Last Futurist Exhibition of Painting” was opened in Madam Dobychina’s gallery in St. Petersburg, at which Kazimir Malevich declared that he had reached the degree zero of all forms and reached out beyond, by hanging his purely abstract and non-objective canvases composed of geometrical forms on the walls. According to Malevich, what he had done was to replace the art of sincerity with the art of truth.
Beyond these aesthetical and theoretical discourses, the most sensational work of 0,10 was Black Square, made by Malevich for this exhibition, and, unlike his other pictures which were presented in the traditional way hanging on the wall, hung in the corner where walls and the ceiling intersect in the manner of an icon. Such a corner was a place for the holy figure, not for the black quadrilateral painted on a white background.
Actually, the first sketches for Black Square had provided space for those who had achieved Victory over the Sun on the opera stage two years before, and now the work was announcing it’s own birth as a black sun in one of the halls of 0,10. Today, on the centenary of this birth and once more in a world of pain, we at ARIEL are tracing the light that was cast into us by the Black Square with our exhibition “White Screen Black Hole” with artists Ayşe Erkmen and IRWIN.
Internationally renowned Turkish artist Ayşe Erkmen participates in the exhibition with circular black canvases of varying size and a 12-minute video of the mutual interaction between hearts and colors. Slovenian artist group IRWIN participates with the documentary film of their famous performance "Black Square on the Red Square" realized in 1992, saluting the centennial of Black Square.