Thesis (M. Arch)--Unitec New Zealand, 2008. / Includes bibliographical references (leaves 100-104).

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This dissertation is an investigation into the architectural meaning of Kasimir Malevich's suprematist works and, more specifically, into the meaning of his Architectons of horizontal and vertical constructions. A critical "rewinding" of the diverse and seemingly contradictory suprematist periods--starting with the artist's chef d'oeuvre, his Funeral-Performance and moving backwards to the figurative works, the Architectons and then, to the 1913 Black Square, in its beginnings in futurist Zaum poetry--makes patent the fragmentary nature of the meaning of those periods and introduces Suprematism-as-Architecture as the meaning of Suprematism in its entirety. Malevich's extensive written work is the guiding thread we follow in trying to demonstrate how the full meaning of Suprematism echoes, in the context of our Nietzschean world, Martin Heidegger's presentation of questions concerning building. Suprematism-as-Architecture equally opens up avenues of questioning concerning modern man's relation to the attainment of an architectural meaning, i.e., of a thinking-dwelling.

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Este é um estudo sobre a importância da imaterialidade encontrada na obra de Kazímir Sievierínovitch Maliévitch (1878-1935), artista, pintor, filósofo, professor e arquiteto russo, considerado um dos principais precursores da arte abstrata. Os ideais de um mundo melhor e sem objetos, defendidos pelo artista, tiveram como consequência uma proposta visual representada por uma simplicidade nas formas e cores, com imensa sofisticação filosófica e intelectual. Num período de guerras e revoluções, os artistas dessa geração buscavam novas propostas. Não havia mais espaço para uma arte puramente contemplativa. Para a compreensão de suas obras, dependemos de uma extensa pesquisa pictórico-filosófica, com temas relacionados ao visível e ao sensível, para assim criarmos um possível juízo de valor. Faremos também um breve estudo sobre a imaterialidade contida na obra de Mark Rothko (1903, Rússia 1970, Nova Iorque), baseado em um olhar pós-suprematista. Para o estudo e abordagem dessas características da visualidade, nos apropriaremos de alguns aspectos do pensamento de Merleau-Ponty, para então justificarmos um possível olhar pós-suprematista em Rothko. / This is a study on the importance of immateriality found in the work of Kazimir Sievierinovich Maliévitch (1878 - 1935), artist, painter, philosopher, teacher and Russian architect, considered one of the main precursors of abstract art. The ideals of a better world and without objects, defended by the artist, had as consequence a visual proposal represented by a simplicity in the forms and colors, with immense philosophical and intellectual sophistication. In a period of wars and revolutions, the artists of this generation were seeking new proposals, there was no more space for a purely contemplative art. For the understanding of his works we depend on an extensive pictorial-philosophical research, with themes related to the visible and the sensitive, in order to create a possible value judgment. We will also make a brief study of the immateriality contained in the work of Mark Rothko (1903 - Russia, 1970 - New York), through a post-suprematist look. For the study and approach of these characteristics of visuality we will appropriate some aspects of Merleau-Ponty\'s thought, to justify a possible post-suprematist look in Rothko.

This thesis explores ways in which the reality of Kantor’s existence at a key moment in occupied Kraków may be read as directly informing the genesis and development of his artistic strategies. It argues for a particular ontological understanding of human being that resonates strongly with that implied by Kantor in his work and writings. Most approaches to Kantor have either operated from within a native perspective that assumes familiarity with Polish culture and its influences, or, from an Anglo-American theatre-history perspective that has tended to focus on his larger-scale performance work. This has meant that contextual factors informing Kantor’s work as a whole, including his happenings, paintings, and writings, as well as his theatrical works, have remained under-explored. The thesis takes a Heideggerian-hermeneutic approach that foregrounds biographical, cultural and aesthetic contexts specific to Kantor, but seemingly alien to Anglo-American experience. Kantor’s work is approached from Heideggerian and post-Heideggerian perspectives that read the work as a world-forming response to these contexts. Read in this way, key writings, art and performance works by Kantor are revealed to be explorations of existence and human being. Traditional ontological distinctions between process and product, painting and performance, are problematised through the critique of representation that these works and working practices propose. Kantor is revealed as a metaphysical artist whose work stands as a testament to a Heideggerian view of human being as a ‘positive negative’: a ‘placeholder of nothing’, but a ‘nothing’ that yet ‘is’ …