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![Left: Art & Language, Ten Suprematist Squares, 1965, 12” x 12” [30.5 x 30.5cm] matt black squares painted on white wall. Right: Ilya Kabakov, Ilya Kabakov: With Respect to my Teacher Charles Rosenthal 1972, 2008, Oil on canvas, 102 x 152.5cm. Copyright, Sprovieri Gallery.](//img.artrabbit.com/events/the-nonobjective-world-art-language-ilya-kabakov/images/xYCDnYrXO7oO/633x460/Ten-Suprematist-Squares-1965-and-Ilya-Kabakov-With-repect-to.jpg)
Left: Art & Language, Ten Suprematist Squares, 1965, 12” x 12” [30.5 x 30.5cm] matt black squares painted on white wall. Right: Ilya Kabakov, Ilya Kabakov: With Respect to my Teacher Charles Rosenthal 1972, 2008, Oil on canvas, 102 x 152.5cm. Copyright, Sprovieri Gallery.
![Left: Art & Language, Ten Suprematist Squares, 1965, 12” x 12” [30.5 x 30.5cm] matt black squares painted on white wall. Right: Ilya Kabakov, Ilya Kabakov: With Respect to my Teacher Charles Rosenthal 1972, 2008, Oil on canvas, 102 x 152.5cm. Copyright, Sprovieri Gallery.](http://img.artrabbit.com/events/the-nonobjective-world-art-language-ilya-kabakov/images/eSyZL2PRyBT2/1500x1089/Ten-Suprematist-Squares-1965-and-Ilya-Kabakov-With-repect-to.jpg)
Exhibition
The Non-Objective World: Art & Language, Ilya Kabakov
30 Sep 2016 – 21 Dec 2016
Event times
Tuesday-Saturday; 10am-6pm
Cost of entry
Free
Address
- 23 Heddon St
- London
- W1B 4BQ
- United Kingdom
Travel Information
- Oxford Circus
‘The Non-Objective World: Art & Language, Ilya Kabakov’ runs from 30th September to 19th November 2016.
About
This autumn, London gallerist, Niccolo Sprovieri revisits the radical, early 20th century theoretical departure spelled out by Kasimir Malevich in his book, ‘The Non-Objective World’, not through his original Black Square paintings, but through related works by three of the most important living conceptual artists, Michael Baldwin and Mel Ramsden (otherwise known as Art & Language) and Ilya Kabakov. As conceptual artists, each has absorbed, over the last 50 years, the impact which Malevich has had on modern art and turned it into something of their own. For the first time, in a joint collaboration between Sprovieri and Jill Silverman van Coenegrachts, this connection between the greatest and most original abstract artist and three of the leading conceptual artists of our time, is explored.
