Maxim Kashin’s ASKO Sculptural Installations

Early?Avant Meets 3D Reality

Maxim Kashin Architects have long been fascinated by the geometric rigor of early?20th?century Russian avant?garde, and this installation is their most direct translation yet of suprematist painting into sculpture. Rather than hanging flat canvases, Kashin “breaks through the outer shell” of familiar forms, unfolding Malevich’s pure monochrome planes into three?dimensional volumes. The result is an opportunity to experience those radical ideas of non?object geometry in the round—no longer just visual, but tactile and spatial.

Revealing Infinity through Form

At the heart of the project lies a simple but profound question: what does infinity look like? Suprematism answered with dynamic lines and unmodulated colors; here, Kashin answers with floating cubes, prisms and planes suspended in space. He floods these volumes in white—a nod to Malevich’s “white on white”—so that they read as primordial elements in a boundless void. Walking around or through the pieces, visitors can’t help but confront that tension between solid matter and the limitless horizon beyond.

Material Dialogues: Rust and Tech

Despite the installation’s ethereal quality, the choice of materials grounds it firmly in the real world. Steel elements carry a noble patina of rust, recalling a century of Russian avant?garde development yet signaling a work that’s very much of today. ASKO’s technology—concealed within the armatures and mounting systems—underscores the dialogue between artistic heritage and contemporary innovation. The subtle contrast of rough, oxidized surfaces against velvety white planes creates a tactile richness that rewards close inspection.

Space, Function, and Public Encounter

Installed in ASKO’s Moscow showroom/gallery, the works redefine the building as more than a display space for appliances—they turn it into a laboratory for architectural ideas. Framed by minimalist walls and strategic lighting, each sculpture becomes an event in its own right. The open?plan layout invites visitors to circulate freely, encouraging moments of discovery as perspectives shift. In this way, the installations function both as art and as a form of public architecture, activating the space and inviting dialogue about geometry, materiality and the essence of infinity.

Blending a century?old avant?garde ideology with the precision of modern fabrication, Maxim Kashin Architects have created an exhibition that feels both timeless and of?the?moment. For ASKO, it’s a compelling demonstration of how design can bridge art history and future?oriented technology.

Technical Sheet