Torsten Ridell: 0,0,0

torsten ridell: 0,0,0
 
serigraph on paper, hand signed in pencil 
 
published in 2025 
by comptoir des arts franches montagnes (cafm)
saint-brais, switzerland
 
printed by SYMETRIA, saint-louis
 
edition of 250, 30 x 30 cm in a frame of 32 x 32 x 3.5 cm
 
including wooden shadow gap frame
 
0,0,0: a global snapshot of non-objective art in the digital age
commemorating the 110th anniversary of kazimir malevich’s groundbreaking 0,10 exhibition (petrograd, 1915), the 0,0,0 portfolio is a seminal contemporary project that explores the enduring legacy of geometric and non-representational art worldwide.
 
the title “0,0,0” references the pure state of the color black in programming code, symbolizing the core principle of maximum reduction and universal applicability—a direct conceptual bridge to malevich's revolutionary "zero form."
 
this limited-edition portfolio gathers 30 original works by international artists, showcasing the vibrant, transcultural evolution of constructivist principles across different generations and continents. it is a visual dialogue between the historical avant-garde and the logic of our networked, digital world.
 
born in malmö in 1946 and working from paris, ridell operates at the precise intersection of scandinavian minimalism and the rigorous intellect of concrete art. he is not interested in the singular "masterpiece" born of a sudden spark, but in the "series"—the exhaustion of logical possibilities within a defined set of rules.
 
for the 0,0,0 portfolio, ridell deconstructs the very icon of this project: the black square. he presents us with a plotter drawing that acts as a ghost of malevich’s original. at first glance, it is a tilted square floating in white space. but look closer. the solidity is an illusion. ridell has pulverized the heavy black mass into a vibrating mesh of thousands of tiny asterisks.
he uses the plotter not just as a printer, but as a weaving loom for data. by building the square out of discrete points rather than a solid wash of ink, he transforms the object into a frequency. it is a "black square" for the digital age—composed of bits, rhythms, and intervals. the density of the symbols creates a moiré effect, making the static image appear to hum and shift before the eye.
 
ridell reminds us that in a world of infinite data, structure is the only anchor. he proves that even the densest black is ultimately composed of light and space.