Kossakowski's Malevich Photographs and Macuga's Mirrors in Exhibition Exploring Suprematist Legacy

An exhibition in October 2014 featured Eustachy Kossakowski (1925–2001) and Goshka Macuga, with Kazimir Malevich (1879–1935) as a third artist. Kossakowski documented Malevich's 1989 retrospective at the Stedelijk in Amsterdam, producing photographs that crop details of paintings like Girls in the Field (1928–9), Head of a Peasant (1928–9), Landscape with Five Houses (1928–9), and Portrait of Ivan Vasilevich (1913). His framing shifts focus and scale while highlighting gradated colors and geometric forms. Macuga contributed mirrors sandblasted with Malevich's geometric diagrams, dated '(1922), 2003', which overlay reflections onto Kossakowski's photographs. Kossakowski's images were part of a 14,000-photo archive first shown in 2010 at Warsaw's Polonia Palace Hotel, where Malevich had his first exhibition outside Russia in 1927. Malevich launched Suprematism in the 1915 exhibition The Last Exhibition of Futurist Painting 0.10 (Zero-Ten), placing Black Square (1915) in an icon corner. Macuga orchestrated the display, blending authorship and documentation through archival research and exhibition methods. The exhibition appeared in ArtReview's October 2014 issue.