位于莫斯科地区的巴尔维哈和涅姆奇诺夫卡附近，一个以卡齐米尔-马列维奇命名的公园已经向公众开放。这些乡村风景不仅是艺术家最喜欢的度假胜地，也是他后来习得的具象风格的灵感来源，标志着他艺术新篇章的开始。公园的重要元素之一是由格里高利-奥列霍夫创作的同名场地雕塑作品《马列维奇》。

Located in the Moscow region, near the settlements of Barvikha and Nemchninovka, a park named after Kazimir Malevich has opened its doors to the public. These countryside landscapes were not only the artist’s favourite vacation spots, but also served as inspiration for his later acquired figurative style, which marked the beginning of a new chapter in his art. One of the key elements of the park is a site-specific sculptural work of the same name “Malevich,” created by Gregory Orekhov.

奥列霍夫的 "黑色广场"是为纪念卡齐米尔-马列维奇而创作的第一座大型纪念碑，也是俄罗斯当代雕塑的独特范例。奥列霍夫考虑到雕塑被捕捉到的体量，有意保留了雕塑在公园背景下的 "不自然性"，这也是该作品最重要的特点。奥列霍夫巧妙地将艺术作品融入到建筑环境中，同时将观众与景观的建筑空间联系起来。

Orekhov’s “Black Square” is the first large-scale monument created in memory of Kazimir Malevich, and a unique example of a contemporary Russian sculpture. Orekhov considered the sculpture’s captured volume and intentionally preserved its “unnaturalness” against the backdrop of the park, which is the most important characteristic of the object. Orekhov masterfully integrates the work of art within the built environment, all the while connecting the viewer to the architectural space of the landscape.

奥列霍夫的 "黑色广场 "被分为两部分，作为进入公园的通道。物体本身具有相当的功利性。按照艺术家的想法，一旦进入 "广场"，我们就会发现自己处在一个十字路口，要么进入公园，要么进入无穷大的空间内，这也暗示了现实生活中发生的事情和成百上千种未实现的变化之间的交叉。

Divided into two parts, Orekhov’s “Black Square” acts as a passageway into the park. The object itself is quite utilitarian in its nature. According to the artist’s idea, once we enter the “square”, we find ourselves at a crossroad — to either enter the park or enter infinity, a crossing between what occurs in real-life and hundreds of its unfulfilled variations.

奥列霍夫通过在立方体的两半中放置两面由抛光不锈钢制成的全长镜来实现这一目的。艺术家工作室制作的钢板在俄罗斯没有类似物，而表面的抛光则是用最高的加工水平实现的。然而，这种技术的应用是针对自身、针对历史时间的进程、针对进步的，是克服历史、回归自然的一种手段。

Orekhov was able to achieve this by placing two full-length mirrors made of polished stainless steel into the two halves of the cube. The steel sheets made in the artist’s studio have no analogues in Russia, while the surface polishing was achieved with the highest level of processing. Nevertheless, the technique is applied against itself, against the course of historical time, against progress, as a means of overcoming history and returning to the beginning of nature.

项目创作理念源于并延续了20世纪初前卫时代最著名的文化人物的哲学。现今工业生产对传统生活方式的入侵，被认为是对自然内部统一性的破坏，而千年文化传统正是基于此。随着世界逐渐变得不稳定，对自然的模仿早已失去了价值。同时，技术的进步，不仅使艺术失去了对真理的诉求，而且改变了艺术家对其创作的定义：不是对世界的反映，而是对世界的真正改造。从此，雕塑和绘画的表现被视为 "真实"的东西，而不是存在于理想主义空间的真实事物的复制品。

The idea behind the creation of this work derives from and continues the philosophy of the most notable cultural figures of the avant-grade era of the early 20th century. The invasion of industrial production into the traditional way of living was perceived as a destruction of unity within nature, on which the millennial cultural tradition was based upon. The emulation of nature has long lost its’ value, as the world has gradually grown unstable. At the same time, the advancement in technique, not only deprived art of its claim to truth, but changed the way artists defined their creativity — not as a reflection of the world, but as its real transformation. The representation of sculpture and painting has since been regarded as something “real” — not as duplicates of real things existent in an idealistic space.

"观者变成了被观察者，落入无尽的反射走廊。观者的运动动态在静态的人物内部变得耐人寻味。项目的空间发展在于结构：从马列维奇的二维形式过渡到奥列霍夫的三维形式。然而，雕塑内部却出现了一个不同的宇宙，一个类似 笑室或科幻/恐怖立方体的多维空间。”策展人兼艺术评论家米哈伊尔西德林写道："格雷戈里-奥雷霍夫或许是唯一一位以真正的后极简主义精神进行创作的俄罗斯雕塑家：他将粗糙的形式与最终吸引人的情感剧场相结合。"

“The viewer turns into an accomplice, falling into an endless corridor of reflections. The dynamics of the viewer’s movement become intriguing inside the static figure. The spatial development of the “Black Square” lies within the structure: the transition from Malevich’s two-dimensional form to the three-dimensional form of Orekhov. Yet, a different universe emerges inside the sculpture — a multidimensional space that resembles a “laughing room” or the sci-fi/horror “Cube,” writes curator and art critic Mikhail Sidlin. “Gregory Orekhov is perhaps the only Russian sculptor that works in true post-minimalism spirit: he combines a crude form with a theatre of emotions that ultimately draw one in.”

该项目使用了以下材料：螺旋桩、不锈钢型材管、喷射混凝土、2x6m的抛光不锈钢板。 由于项目位于自然保护区内，禁止任何基本建设，我们采用了螺旋桩技术作为基础。不锈钢结构被组装在螺丝桩上，螺丝桩上覆盖着喷射混凝土，然后进行涂装。在雕塑的内部2面固定着不锈钢制成的镜面抛光板。

The following materials were used in the project: screw piles, stainless steel profile pipe, shotcrete, polished stainless steel sheets measuring 2x6m. We used the technology of screw piles for the foundation due to the fact that the object is located in a natural protected area and any capital construction is prohibited. Stainless steel construction was assembled on screwed piles which were covered with shotcrete and then painted. On the inner 2 sides of the sculpture are fixed mirror-polished sheets made of stainless steel.