Malevič e la crisi della rappresentazione. Dallo zero delle forme alla liberazione fenomenologica

Resumen

Abstract art aims, first and foremost, to open up a horizon other than that of representation, offering further avenues of access to the invisible ground of beings. Now, if phenomenology – as Heidegger suggests – presents itself as an exercise of reduction, a bracketing of the ontic horizon in order to free the gaze for Being, the phenomenological method and abstract art may be closer than is commonly supposed: E. Martineau, in his essay Malévitch et la philosophie, even invites us to discern a genuine “kinship” between the two approaches. This paper therefore sets out to probe the links between abstract art and phenomenology, taking as its point of departure Malevich’s artistic project – a professed heir to the sacred icon and its function of manifesting the invisible. Might phenomenology’s interest in the icon and in abstraction – especially in France – derive from a shared intention to achieve a liberation both of beings and from beings?