Članek se osredotoča na sostavo Albertija
in Maleviča, širše in poenostavljeno
gledano renesančnega ali novoveškega
in modernega in avantgardnega, zlasti
skozi interpretacijo, ki jo ponuja delo
francoskega psihoanalitika Gérarda
Wajcmana. V ospredju je vprašanje
analogije med sliko in oknom,
ki se je odprlo v svet, z nastopom moderne
dobe v umetnosti pa zaprlo ali
odprlo v nič. Temeljna poanta pričujočega
članka je torej ta, da nam ta sostava
v resnici osvetljuje ali na drugačen
način pomaga doumeti, kaj pravzaprav
je prelom, ki ga lahko poimenujemo
nastop moderne dobe v umetnosti,
in sicer skozi prizmo slikarstva. Ena
od posledic tovrstnega vzporednega
branja novoveškega in modernega
prinaša tudi določene posledice pri
zajemanju vprašanja brezpredmetnosti
ali brezpredmetnega sveta in objekta
(niča kot objekta) v Malevičevem
delu. Obenem pa tudi pri zajemanju
vprašanja ateizma: je Črni kvadrat
ateistična slika? The article focuses on the juxtaposition
of Alberti and Malevich, more broadly
and simply put, it focuses on the juxtaposition
of what was established with
the Renaissance and of the modern
and the avant-garde, especially taking
into consideration the interpretation
offered by the work of the psychoanalyst
Gérard Wajcman. The key
topic here is therefore the question
of the analogy between a painting and
a window that opens onto the world
and that closes or actually opens onto
nothing with the advent of the modern
age in art. The article argues that this
juxtaposition actually offers a different
way to comprehend or view the break
that was the inauguration of modernity
in art, namely through the prism
of painting. One of the consequences
of this parallel reading of Alberti and
Malevich is also a different take on the
question of objectlessness and the
object (the nothing as object) in Malevich’s
work. This also holds for the
question of atheism: Is Malevich’s Black
Square an atheist painting?
