Outrage in the art world—rounded corners and a crude gloss effect applied to the icon of Suprematism. Kazimir Malevich would turn in his grave.
Malevich’s Black Square from 1913 also was called “dead square” by his contemporaries. To Kasimir Malevich, however, this square symbolized a “full void”, in that it shown how painting could fulfill itself unaided by any reference to a specific external reality. For him the square represented pure Suprematism: “the supremacy of pure feeling” in and of itself. Malevich removes subject matter as such by shifting away from representation and mimesis and towards the purity of geometry.
As opposed to this, Black Square 2.0 reveals that pure geometry and minimalism even in the most calculating medium has become a rare occurrence.
The way in which Malevich does away with any representation of the physical world in this visionary work of art (and the way it is manually painted) collides with the hyper-realism of the graphical user interface where perfectly rounded corners and gloss effects of polished surfaces reach far beyond the representations of the physical world.