Black Square by Gregory Orekhov

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Appreciation towards Gregory Orekhov for providing the following description:

雕塑家和艺术家Gregory Orekhov近日在莫斯科的马列维奇公园完成了他的最新作品“黑色广场”（Black Square）。

Gregory Orekhov reinterprets the “Black Square” in his new work for Malevich Park located in the Moscow region.

▼装置概览，general view © Ivan Muraenko

“黑色广场”是第一座为纪念画家卡西米尔·马列维奇而创作的大型纪念装置，同时也是俄罗斯当代雕塑中的一个独特范例。艺术家对雕塑能够捕获的“风景量”进行了考量，并有意地保持作品的“非自然性”，使其与公园的背景形成对照――这也是该作品最重要的一个特征。艺术品被巧妙地融入既有环境中，同时将观者与景观中的建筑空间连接起来。

“Black Square” is the first large-scale monument created in memory of Kazimir Malevich, and a unique example of a contemporary Russian sculpture. Orekhov considered the sculpture’s captured volume and intentionally preserved its “unnaturalness” against the backdrop of the park, which is the most important characteristic of the object. Orekhov masterfully integrates the work of art within the built environment, all the while connecting the viewer to the architectural space of the landscape.

▼“黑色广场”将观者与景观中的建筑空间连接起来 © Ivan Muraenko
“Black Square” connects the viewer to the architectural space of the landscape

Orekhov的“黑色广场”由两个体量构成，作为通往公园的入口，具备了相当的实用性。根据艺术家的构思，当人们进入这座“广场”时，将发现自己正置身于一个十字路口，同时面临着“走进公园”或“步入无限”两种选择――这也是生活中实际发生的事物与未知且无穷的变化的交汇。

Divided into two parts, Orekhov’s “Black Square” acts as a passageway into the park. The object itself is quite utilitarian in its nature. According to the artist’s idea, once we enter the “square”, we find ourselves at a crossroad ― to either enter the park or enter infinity, a crossing between what occurs in real-life and hundreds of its unfulfilled variations.

▼两个体量，the two parts © Ivan Muraenko

▼“步入无限”，“enter infinity” © Ivan Muraenko

这样的体验是通过在立方体的两半分别安装两面全长的抛光不锈钢镜面而实现的。这样的钢板在俄罗斯并无成品，需要在艺术家的工作室内通过最高水准的工序来制作。而另一方面，这种技术的应用所展现的是一种与历史进程和所谓进步相抗衡的结果，是一种向自然本源的回归。

Orekhov was able to achieve this by placing two full-length mirrors made of polished stainless steel into the two halves of the cube. The steel sheets made in the artist’s studio have no analogues in Russia, while the surface polishing was achieved with the highest level of processing. Nevertheless, the technique is applied against itself, against the course of historical time, against progress, as a means of overcoming history and returning to the beginning of nature.

▼抛光不锈钢镜面，polished stainless steel surface © Ivan Muraenko

▼被反射的自然，the reflected nature © Ivan Muraenko

▼手绘，sketch © Gregory Orekhov

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