Art Critic Louis Choi Chul-joo

Contemporary ArtReview Kazimir Malevich:

Art Critic Louis Choi Chul-joo Criticism [78] Kazimir Malevich: Black Square, Modern Contemporary Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: Kazimir Malevich: Black Square, Oil on canvas, 79.5 × 79.5 cm, 1915, Tretyakov Gallery, Moscow

Kazimir Malevich: Black Square, Oil on canvas, 79.5 × 79.5 cm, 1915, Tretyakov Gallery, Moscow

Kazimir Malevich: Black Square

It's the act of resetting the basics of art with the form and achromatic colors of modern art.

As an "extreme of form" that deviates from form by revealing the absolute meaning of the white background and form of infinite space, Malevich presents a turning point in the formation structure as a radical experiment in discovering the absolute 絶 of modern art from nothing and rewriting the essence of painting by interpreting the object in an ontological sense through "black square."

Kazimir Malevich's "Black Square" has established itself as a conceptual abstraction that denies realism. Realistic images are hidden inside the black square, refusing to reproduce the phenomenal structure, instead extinguishing light through the black surface. The square embodies the meaning of "absence of existence" as a linguistic symbol, hiding the world in its visible form and presenting Malevich's official language of absolutism. His official language fits the linguistic meaning by abstracting the existential concept of a realist object as a symbolic image. Thus, the black square becomes the hidden desire of the other, consistent with the other's unconscious desire.

Therefore, Kazimir Malevich "Black Square" is in a position where conceptual abstract paintings deny realism paintings. It is the linguistic meaning of a square image in which the realist image is obscured into black squares and light is erased with black without reproducing the phenomenal structure, and it is a form of Suprematistic Mallevich's sculpture that hides the formative bird world where the square is invisible as "the meaning of the square revealed in the absence of existence" without color.

His formative form abstracts the existential concept of a realist object in a linguistic sense, the same as a symbolic image. This is a closed square that equates the desires of the unconscious other with abstract concepts.

Due to the lack of conceptual abstraction, the absolutist form is transferred to the structure of desire, creating a fragmented subject in an abstract form. Through an iterative process of giving meaning, the subject reveals the formal character of art and abstracts desire into form to capture a real image consistent with the structure of desire. By decomposing the linguistic meaning of an absolute concept into an abstract form and transferring it to desire, it acquires the value of a new existential meaning as a conceptual realist image.

The painter Malevich suggests that form can be reborn at the same time while going through a process of self-denial, erasing form instead of square. By equating form with meaning, he declares: "When form becomes meaning, content disappears within form." Thus, Black Square reveals the boundaries between form that represents existence and hidden black objects through negation. In this way, the subject represents itself by rejecting form, dividing linguistic meaning, and projecting self through Black Square.

Thus, Malevich's absolutist form of formation shifts to a structure of desire lacking in conceptual abstraction and becomes a divided subject in abstract formation. Here, linguistic meaning is repeated, and in order to reveal the formality of the formative form, the subject abstracts into a desire structure and attempts to capture the same real image as the desired structure as a figure in a linguistic sense.

The linguistic meaning divides the linguistic meaning of the abstracted figure and acquires a new linguistic meaning of the conceptual abstract realism image that has transferred to the desire structure.

As a painter, he equates form and form to imply that form can be reborn in the place of a square that has erased form in the process of self-denial, and as soon as the form becomes the content as a linguistic meaning, the form disappears in the form.

In this way, "Black Square" reveals the boundary line between the formation and the obscured black figure as a being, and is a form that represents its existence, and by denying the formation through the black square, the divided subject expresses itself in a linguistic sense.

A subject divided in a linguistic sense, like an infant confronting a mirror image, he denies his reflected form and identifies it with the abstract image of the other. Painting space becomes a site where meaning is established through geometric symmetry and transformation. While the linguistic meaning of informal structure becomes content, it abstracts the informal meaning within form. In this process, meaning breaks away from seemingly meaninglessness and creates new aesthetic values. Black squares are monochromatic abstractions that hide the reversibility of light and are transformed into an aesthetic form.

As a result, the concept of symmetry transformation is abstracted into a black square as a meaningful action performed by the other in accordance with the abstract reality image of the other by equating the subject with the realist image of the conceptual abstract structure that denies the image reflected in the mirror as a child.

The linguistic meaning of the atypical figure structure that obscures the realist form becomes the content, and the content abstracts the atypical meaning that is obscured in the formative form. It is a conceptual abstract process in which meaning is discovered in meaninglessness with a concept of atypical meaning.

The abstract process shifts to new aesthetic values by creating the linguistic meaning of a black materialistic image from an atypical concept.

This is a monochromatic painting in which the formative structure of the painting is obscured in a monotone square, obscured by a superimposed black square of reversible light, and made into another orthogonal shape.

As it becomes the subject of black monochromatic painting, desire is structured as a figure like an unconscious statement, and the image is abstracted into a linguistic meaning by specifying the object.

"Black square" is a structure of desire that abstracts to specify the object desired by the other and selects a realism image as a linguistic meaning of the same concept.

Since abstract desire has no choice but to concept an object, the subject transitions beyond the inevitable abstract structure of desire to a realism image with the same linguistic meaning as conceptual abstraction for the purpose of the desire of others.

The lack of unconscious desire of the Russian avant-garde, which cannot specify the object in formative painting, divides and abstracts conceptual abstraction with geometric figures and monotone absolutist colors in the realist world with the concept of atonal linguistic meaning.

This recognizes phenomenal reality as an abstract reality in an abstract immaterial and fundamental painting structure in which the desire of the other is an abstract concept that exists in thought, that is, the reality of the concept, which is identified with logical laws.

Black Square functions as a structure of desire that abstracts the object that the other party seeks into a linguistic sense. Abstract desire inevitably conceptualizes objects and transforms the subject into a realist image that matches the desires of the other. In Russian avant-garde painting, unconscious desire, divided into deficiencies, appears as a geometric form and a monochrome supremacist color, and abstracts material reality into a conceptual form. The other's desire exists as abstract thinking, is identified with the laws of logic, and is recognized as an immaterial entity within the fundamental structure of painting.
By conceptualizing a reversible image of light that recognizes the abstract structure specified as an image of realism as an immaterial entity, the meaning of symbolic action is repeatedly designed to match the unconscious structure and the desires of others with the image of realism to obtain the linguistic meaning pursued by the other.

Therefore, the desire of the other is not only an abstract picture that exists unconsciously, but also a conscious semanticization repeatedly objectifies the existence of the object as an abstract realism picture.

Objectifying an object in an abstract realism painting fits the abstract structure of an object in contrast to the object as the scope of a space limited by reversible light that connects the linguistic semantic structure of the painting into an allegory and the size of the perspective.

Abstract paintings like this are placed in a position where the unconscious existence of a picture is denied and the form consciously hides its existence in geometric figures that remove linguistic images. And absolutism in the form of a square replaces the world of existence with abstraction.
The conceptually abstract absolutist square is embodied in a symbolic figure form, a formula similar to the linguistic meaning of the formation structure, so that the geometric form hidden in the absolutist structure disappears and stops in the process of self-denial, leaving only linguistic abstraction. However, on a white background, the black square revives the aesthetic form and reaffirms its abstract presence as a figure.

Abstract presence objectifies existence through the repetitive process of meaning that connects linguistic meaning with allegory. Reversible images of light define spatial limitations and viewpoints, contrast objects with objects, and align realist images with abstract structures. Thus, abstraction occupies a place of negation and hides its existence within its geometric form. And by replacing the world of abstract existence with abstraction, absolute squares are realized as symbolic figures./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, Art Critic