Suprematism as a tool of intercultural communication in curatorial projects of Chinese museums

The article is devoted to the study of the role of suprematism as a tool of intercultural communication in curatorial projects of Chinese museums. The focus is on the perception and adaptation of the ideas of the Russian avant–garde, in particular the suprematism of Kazimir Malevich, in the museum expositions of China in the late XX – early XXI centuries. Special attention is paid to how suprematism, as an artistic trend focused on the universal language of geometric shapes and pure abstraction, was perceived in the context of the Chinese art tradition and museum policy. The paper examines key exhibition projects, starting with "China/Avangard" (1989) and concluding with modern initiatives in 2017–2024, in order to identify the role of suprematism as an instrument of intercultural dialogue influencing China's artistic identity and cultural self-understanding. The research uses historical, comparative and cultural approaches, content analysis of exhibitions, analysis of curatorial strategies and interpretations. The exposition solutions of Chinese museums using the principles of suprematism are considered. The methodological scheme is aimed at identifying the mechanisms of intercultural communication and the transformation of visual language in museum spaces. The scientific novelty of the study lies in a comprehensive analysis of the processes of adaptation of suprematism in curatorial projects in China, which was previously studied mainly in a historical and theoretical manner. For the first time, the evolution of the perception of the Russian avant–garde is traced – from the early reception of the 1920s to modern curatorial initiatives. The research goes beyond the traditional theoretical approach and focuses on specific mechanisms of expositional adaptation, spectator interpretation and institutional mediation. The connection between the visual language of suprematism and the reinterpretation of Chinese artistic identity in the context of globalization is revealed. It is shown that suprematism, being culturally "different", becomes a mediator of artistic exchange, capable of building bridges between Russian and Chinese traditions in the museum context. Exhibitions in Beijing, Shanghai and Qingdao have confirmed the universality of the supremacist language and its ability to serve as a bridge between different cultures. It is concluded that curatorial projects based on the principles of suprematism play a key role in the development of intercultural communication and the formation of China's global artistic identity

Cultural Communication · Exhibition · Intercultural communication · Novelty · Perception · Cultural and Communication Design Research · Digital Media and Visual Art · Sustainable Urban and Rural Development

• “Gunpowder painting” of Cai Guo-Qiang

  Open Access•Marina Aleksandrovna Neglinskaya•Культура и искусство•2020

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