For many years I wanted to make a movie of detective stories, in which a lucky killer would love to confess about deceived and destroyed investigators. Gradually, in my thoughts, I began to call this killer Black Square, yet the image of the killer did not particularly associate in my mind with any of Malevich’s paintings or the geometrical figure of the images. I imagined different people in this role: sometimes well-known actors, sometimes familiar faces, but often some characters that do not exist in reality. Years passed, and as I did not take any steps towards the making of this film, this fantasy continued to live under the laws of phantasm. Slowly but surely, the magic name – Black Square – penetrated deeper into the body of the killer, giving it some of the properties of the victim: the killer, as it absorbs the bodies of their victims, reveals an abstract starting principle, which is built into the very foundation of the detective story. Perhaps, in Agatha Christie, this abstract and abstracted concept can be identified with maximum clarity. First of all, because in Agatha Christie, investigator, murderer and victim gather in one place in advance of the story to work together to act out the play, an idea which should be sweet to the souls of Malevich and Duchamp, and at the same time enjoyed by anyone. That mass adoration caused by Agatha Christie stories, gives them a total mystery. Murder! She, said. Cosy Miss Marple only likes murder, and in that capacity can be considered ideal spectator of any ideal of art.
© Pavel Pepperstein, 2014
Regina Gallery is presenting works by Pavel Pepperstein, from the series ‘Murder! She, said’ – at Cosmoscow (International Contemporary Art Fair). http://www.reginagallery.com/