V članku je predstavljen odnos Kazimira
Maleviča do poezije, ki ga je ta slikar
in teoretik umetnosti izrazil v svojem
traktatu O poeziji (1918–19). Malevič
je veliko sodeloval s futurističnimi
pesniki, njegovo razmišljanje o suprematizmu
in brezpredmetmetnosti
v umetnosti pa je v svojih delih najbolj
dosledno upošteval pesnik Aleksej Kručonih.
Tako v zaumni poeziji (eksces
jezika) kot tudi poznih rokopisnih knjigah
iz kavkaškega obdobja (odsotnost
jezika, črka kot vizualni element)
Kručoniha se kažejo osnovni koncepti
(ritem, gibanje in mirovanje, načelo
ekonomičnosti), s pomočjo katerih Malevič
teoretsko osnuje suprematistično
umetnost in oriše možnost brezpredmetnega
sveta. The article presents Kazimir Malevich’s
theory of poetry that
he expressed in his treatise On Poetry
(1918–19). Malevich collaborated with
futurist poets on many occasions; particularly
the poet Aleksei Kruchenykh
used same concepts as Malevich to develop
his poetical expression. We can
track this in his so called transmental
poetry or zaum (excess of language)
as well as in the late handwritten books
from the Caucasian period (absence
of language, letter as a visual element).
Same concepts (rhythm, movement
and stillness, principle of economy) are
used, with which Malevich theoretically
established his new movement in art
– Suprematism, and described the
possibility of the objectless world.
