Tuesday, 15 December 2020 | 17.00—18.00



Link to a live stream on 15 December 2020 at 5 p.m.


If each form is an expression of a purely utilitarian perfection, then the Suprematist form is nothing else but a sign of the definite utilitarian power of the coming concrete world. 


The form clearly indicates the dynamic state and seems to point to the airplane the way into space, not by means of engines and clumsy machinery of disastrous construction but by harmonious integration of form into natural activity through magnetic interrelations in a form which may be composed of all elements of natural forces, and therefore no engines, wings, wheels and fuel will be necessary, that is, its body, forming an entity, will not be made of different organisms.


If one can say this, the Suprematist machine will be monolithic with no bounds. The lever is wrought out of all elements, similar to the globe which contains in it the life of perfection, so that each Suprematist body will be included in the natural organization and will form a new satellite; it is only necessary to discover the mutual relations between two bodies rushing through space.


The Earth and the Moon — a new Suprematist satellite can be constructed between them, fully equipped, which will travel the orbit charting its own route.


Examining Suprematist form in motion, we ARTISTIC SATELLITE can conclude that a route leading straight to a planet can be travelled only by spiral motion of interspatial Suprematist satellites that form a straight line of rings from one planet to another. Working on Suprematism I have discovered that its forms have nothing in common with the technology of the Earth’s surface.


All technical organisms are nothing but small satellites — the entire living world is ready to fly into space and take a special position. For each such satellite is fitted with reason and able to live its own life.


FINALISM | Vectorial: Dragan Živadinov | Visual vectoriral: Dunja Zupančič | Informatrix: TjaEša Ribizel | Vector I.: Blaž Šef | Vector II.: Maruša Majer | Vector III.: Tina Resman | Vocalisation I.: David Farčnik (KFF) | Vocalisation II.: Matej Kurinčič (KFF) | Vocalisation III.: Miha Mihaljčič (KFF) | Vocalisation IV.: Juš Šoltes (KFF) | Visual processing: Gregor Mesec | Sound vector: Aljoša Živadinov Zupančič | Visual vector: Miha Turšič | 3D vector: Luka Frelih | Production: DELAK | Co-production: OSMO/ZA, KSEVT, +MSUM, Ljubljana




On 15 December 1920, a seven-year developmental interval of the artistic style Suprematism ended. With this day one of the most important stylistic formations of the 20th Century was finally established: the artist and art theorist Kazimir Severinovich Malevich completed his text entitled Suprematism in Vitebsk.


Malevich’s theoretical text Suprematism has defined me from my first day of life in art. In the theoretical discussion of stylistic formation I call this date: the finalist coordinate. The 124-page book, Suprematism, systematically developed a Suprematist way of thinking through drawings. It brought together two general ideas that developed in parallel throughout Malevich's artistic biography:

  • The first, a geometrical, abstract line, that is generally accepted by both the professional and the interested public.
  • The second, technocosmistic, metaphysical line, which is crucial for postgravity artists, came from a lesser-known and less exposed techno structure, derived from the cosmist philosophy of Nikolai Fyodorovich Fyodorov and Konstantin Eduardovich Tsiolkovsky. It only got it's meaning fifty years later, with the advent of computer art. 


Technology is a manifestation of metaphysics on planet Earth.

You can imagine how exhilarated I was when I read about Suprematism for the first time in a 1980 edition of the book Malevich / Suprematism in Belgrade.

The art historian, dr. Alexander Flaker, warned me to fear suprematist decorativeness, which is more dangerous than any brutal realism, as early as 1983. From then on, I became aware of dr. Flaker’s reflex. It became logical then that I began to pursue Malevich’s metaphysical techno-cosmist line.

That same year, 1983, I was extremely moved by the exhibition set up in the Gallery of Contemporary Art in Zagreb. In it, I first saw a partial review of antimimetic Soviet art. It contained exceptional authors, such as Tatlin, Kandinski, Popova, Goncharova, Rodchenko and of course Malevich. Among the many important works of art, a cosmist plan was exhibited, combining both an abstract-geometric and a techno-cosmist metaphysical line: Supremus No. 56. Even more important to me than the exhibition The Art of the October Epoch was the retrospective exhibition of Kazimir Malevich, also set up at the Gallery of Contemporary Art in Zagreb in 1989. It was curated by Tihomir Milovac. Even then, something I missed were techno-cosmist metaphysical works of art. For me, they have been overlooked, both from catalogs and from theoretical books, although I have known about their existence for quite some time. I enthusiastically waited for them to one day emerge in front of me.

I first received the groundbreaking 1920 brochure Suprematism in 1992! +

And now a leap to postgravitaty art that stems from the metaphysical techno-cosmist line: Dunja Zupančič and I entered the world of cosmism, cosmokinetics and telelogy in 1995. In the new millennium, Miha Turšič joined us with his techno language. In 2002, we named our art: postgravity art. After 2005, everything accelerated to unimaginable proportions.

Digression: From May 5, 1995, to the present day, we have been accompanied in our artistic endeavors by the Paris newspaper Libération. End of digression.

The historical support of postgravitaty art was developed into a solid starting point for us. Malevich's techno-cosmist, metaphysical line of Suprematism – the line of Ilija Chashnik, Lazar Khidekel and Konstantin Rozhdestvensky - was joined by Černigoj-Stepančič's constructivism, and in the end by Edvard Zajec's computer Informatrix. The new millennium could finally begin!

To understand my rejection of postmodernism – combining the incompatible – and my persistent search for the original, the 50-year performance Noordung::1995–2045, I will write in one sentence the thought of my youthful retrogardist art in Neue Slowenische Kunst: in the group we were split into two, the majority under the influence of Duchamp and the minority, influenced by Malevich. 


Both in the time of retrogardism and in the time of post-gravitational art with Dunja Zupančič and Miha Turšič, I always took Malevich's technocosmistic (!), metaphysical positions as a starting point. 


It is also necessary to point out the fact that it was in the last part of his life that Malevich began the techno-cosmist line, which lasted all the way up to his famous funeral.

And one more thing: be aware that Malevich was strongly influenced by the logic of aerial photography, which developed in parallel with aviation.

A techno-cosmic segment of suprematism, by Kazimir Maljevič: “If every form is an expression of pure utilitarian perfection, then the suprematist form is nothing but a sign of the final utilitarian power of the concrete world of the future. This shape reflects that dynamic state and as it shows the aircraft its way into space, not by using an engine and awkward, terribly constructed machines, but by harmoniously incorporating form into natural action, it takes into account mutual magnetism, by which the aircraft will not require engines, wings, wheels, fuel. In other words: its body, which will form a whole, will not be composed of diverse organisms. You could say that the suprematist machine will be monolithic, without limits. Its levers will be made of all the elements, much like the globe, which contains life in its perfection, so that every suprematist body will integrate into a natural organization and form a new satellite; it is only necessary to discover the mutual relations between two bodies rushing through space. Earth and the Moon – between them we can build a fully equipped new Suprematist satellite, which will chart its own path in orbit. If we carefully observe suprematist forms in motion, we can conclude that the closest path to a planet can be traveled only by the spiral motion of interspatial suprematist satellites, which will travel from one planet to another in a straight line composed of such rings. In working with Suprematism, I discovered that its forms had nothing to do with technology on the Earth’s surface. All technical organisms are, in fact, merely small satellites – all living things are ready to fly into space and take their place there. For each of these satellites is equipped with reason and able to live their own lives.”

On 15 December 2020, we will celebrate the hundredth anniversary of the seminal theoretical text on art of the 20th century. Some theater artists are directing Shakespeare, some Beckett. I stage the fifty-year theater performance with Kazimir Malevich's text Suprematism. Post-gravity finalism ends on 2 May 2045. Let it be so!

— Dragan Živadinov