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"El Lissitzky"
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“You Can Do This”: Working with the Artistic Legacy of El Lissitzky
The collection of the Van Abbemuseum in Eindhoven comprises works by some 800 modern and contemporary artists, and El Lissitzky is one of the most important among them. This special position for Lissitzky is not due simply to the number of his works in the collection. In addition, his oeuvre, ideas and artistic objectives correspond closely with the museum’s engagement with experimentation, radical creativity and public participation. As one of the most dynamic artists of his time, over the years Lissitzky has become more and more important to the museum. He was anything but a creator of static, self-contained works. His creativity was powerful and open to many, a mass of plans and projects bristling with life. Inspired by Lissitzky, the Van Abbemuseum was keen to make that verve and vitality tangible for today’s public. The primary way to do that was to research, show and discuss his original works, but in many cases it was possible to go one step further and reconstruct what was lost or finish what the artist had started. Also, Lissitzky’s works were a source of inspiration for a number of contemporary artists. In this article I will discuss how these works came to Eindhoven and give examples of how the Van Abbemuseum treated this artistic legacy in exhibitions, reconstructions, constructions and new artworks.
Journal Article
Hay varios El Lissitzky?
¿Cuántos El Lissitzky hay? La capacidad de reinventarse de este diseñador multidisciplinar es interminable. Se pretende buscar, identificar e investigar los aspectos comunes en su amplia producción.Hay un aspecto que se repite en una gran mayoría de sus obras: el dinamismo. Este rasgo forma parte del compromiso de los jóvenes artistas y diseñadores con la Revolución Soviética.Este rasgo común de sus obras va más allá de un mero dinamismo formal. Lissitzky busca activar todos los sentidos del espectador para conseguir una recepción más interactiva. El nuevo espectador activo será fundamental para la creación de un nuevo mundo. Quants El Lissitzky hi ha? La capacitat de reinventar-se d'aquest dissenyador multidisciplinari és interminable. L'objectiu d'aquest treball és la recerca, identificació i investigació d'aspectes comuns en la seva àmplia producció. Hi ha un aspecte que es repeteix en una gran majoria de les seves obres: el dinamisme. Aquest tret s'adapta molt bé a una ideologia política de renovació i de canvi, formant part de manera intrínseca del compromís dels joves artistes i dissenyadors amb la Revolució Soviètica. Aquest tret comú de les seves obres va més enllà d'un mer dinamisme formal. Lissitzky busca activar tots els sentits de l'espectador per a aconseguir una recepció més interactiva. El nou espectador actiu serà fonamental per a la creació d'un nou món. ¿How many Lisstzky are there? It is endless the ability of this designer to reinvent himself. The target of this small essay /work is the quest and research of identifiable common aspects in Lissitzky’s wide production.There is a repetitive aspect in the majority of his works: the dynamism. This characteristic goes very well with a renewal political ideology of change and revolution, being an essential part of young artists and designer commitment with Soviet Revolution.Nevertheless, El Lissitzky goes further and search for turning on / activating all spectator senses to achieve a more interactive reception. This new active spectator will be fundamental to create a new world.
Journal Article
Hi ha diversos El Lissitzky?
Quants El Lissitzky hi ha? La capacitat de reinventar-se d'aquest dissenyador multidisciplinari és interminable. L'objectiu d'aquest treball és la recerca, identificació i investigació d'aspectes comuns en la seva àmplia producció. Hi ha un aspecte que es repeteix en una gran majoria de les seves obres: el dinamisme. Aquest tret s'adapta molt bé a una ideologia política de renovació i de canvi, formant part de manera intrínseca del compromís dels joves artistes i dissenyadors amb la Revolució Soviètica. Aquest tret comú de les seves obres va més enllà d'un mer dinamisme formal. Lissitzky busca activar tots els sentits de l'espectador per a aconseguir una recepció més interactiva. El nou espectador actiu serà fonamental per a la creació d'un nou món.
¿How many Lisstzky are there? It is endless the ability of this designer to reinvent himself. The target of this small essay /work is the quest and research of identifiable common aspects in Lissitzky’s wide production.There is a repetitive aspect in the majority of his works: the dynamism. This characteristic goes very well with a renewal political ideology of change and revolution, being an essential part of young artists and designer commitment with Soviet Revolution.Nevertheless, El Lissitzky goes further and search for turning on / activating all spectator senses to achieve a more interactive reception. This new active spectator will be fundamental to create a new world.
¿Cuántos El Lissitzky hay? La capacidad de reinventarse de este diseñador multidisciplinar es interminable. Se pretende buscar, identificar e investigar los aspectos comunes en su amplia producción.Hay un aspecto que se repite en una gran mayoría de sus obras: el dinamismo. Este rasgo forma parte del compromiso de los jóvenes artistas y diseñadores con la Revolución Soviética.Este rasgo común de sus obras va más allá de un mero dinamismo formal. Lissitzky busca activar todos los sentidos del espectador para conseguir una recepción más interactiva. El nuevo espectador activo será fundamental para la creación de un nuevo mundo.
Journal Article
Some Adaptations of Relativity in the 1920s and the Birth of Abstract Architecture
John Hatch examines the friendship between Theo Van Doesburg and El Lissitzky, which was fuelled by a shared interest in scientific theories. Both moved from painting to architecture in seeking out a form best suited to conveying the spatiotemporal experiences phrased by Relativity, resulting in some remarkably innovative architectural designs and theories.
Journal Article
Tracing Fannina Halle in El Lissitzky’s Letters
This article seeks to make visible the affective and immaterial labor that women performed in the 1920s within the male-dominated circuits of the avant-gardes. It centers on a long-forgotten agent of the European and Soviet avant-gardes—the Russian-speaking, Vienna-based Jewish art historian Fannina Halle (1881–1963). Although the whereabouts of most of Halle’s documents are unknown today, her name regularly appears in the letters that the Soviet artist El Lissitzky wrote to his manager and later wife, Sophie Küppers, in 1924. Yet the edited volume of Lissitzky’s letters published in 1967, which has served as a predominant source for scholars interested in the artist’s primary documents, elided most mentions of Halle. In order to recover the fragments that relate to Halle, I read the published volume of Lissitzky’s letters against his archive. Although the artist’s mentions of Halle might appear to be mundane, they reveal the many forms of invisible labor that mostly women performed in support of the avant-garde. In addition to offering her care, Halle sold and distributed Lissitzky’s work in Vienna as well as organized lectures and a major exhibition for him and his Russian comrades.
Journal Article
El Lissitzky and the Biocentric Project “1=1”
This article retraces the sources that influenced the ideas that Russian artist El Lissitzky held about the encounter between human beings and nature during his stay in Europe in the early 1920s. Notes and private correspondence held in the Special Collections of the Getty Research Institute detail an interest in Austro-Hungarian biologist Raoul Heinrich Francé’s concepts from Die Pflanze als Erfinder (1920; Plants as Inventors, 1923) and Bios: Die Gesetze der Welt (1921; Bios: The laws of the world), along with other new sources that relate to the philosophical debate around Albert Einstein’s special and general theories of relativity. A close reading of these sources and Lissitzky’s interest in them enables a reconsideration of what Oliver A. I. Botar describes as Lissitzky’s “biocentric turn” and the artist’s closely connected book project “1=1.”
Journal Article
El Lissitzky's Other Wolkenbügel: Reconstructing an Abandoned Architectural Project
In the design for a horizontal skyscraper that he dubbed his Wolkenbügel, El Lissitzky created one of the most celebrated architectural forms of the Soviet avant-gardes \"heroic\" period. Although presented in response to a series of questions about urban circulation, land use, and the integration of transit systems, the Wolkenbügel also stoked debate over the relative priority of form and utility in architecture. As a more focused response to these latter concerns, Lissitzky proposed a second Wolkenbügel design. A newly emerged drawing makes a reconstruction of thi second building possible and clarifies Lissitzky's sources, working process, and attitude toward Constructivism.
Journal Article
Collecting the New
Collecting the Newis the first book on the questions and challenges that museums face in acquiring and preserving contemporary art. Because such art has not yet withstood the test of time, it defies the traditional understanding of the art museum as an institution that collects and displays works of long-established aesthetic and historical value. By acquiring such art, museums gamble on the future. In addition, new technologies and alternative conceptions of the artwork have created special problems of conservation, while social, political, and aesthetic changes have generated new categories of works to be collected.
Following Bruce Altshuler's introduction on the European and American history of museum collecting of art by living artists, the book comprises newly commissioned essays by twelve distinguished curators representing a wide range of museums. First considered are general issues including the acquisition process, and collecting by universal survey museums and museums that focus on modern and contemporary art. Following are groups of essays that address collecting in particular media, including prints and drawings, new (digital) media, and film and video; and national- and ethnic-specific collecting (contemporary art from Asia, Africa, and Latin America, and African-American art). The closing essay examines the conservation problems created by contemporary works--for example, what is to be done when deterioration is the artist's intent?
The contributors are Christophe Cherix, Vishakha N. Desai, Steve Dietz, Howard N. Fox, Chrissie Iles and Henriette Huldisch, Pamela McClusky, Gabriel Pérez-Barreiro, Lowery Stokes Sims, Robert Storr, Jeffrey Weiss, and Glenn Wharton.
eBook
El' Lisickij grafico costruttivista. La rivista \Vesc'-Gegenstand-Objet\
This paper analyzes the graphic design of the international art journal \"Vesc'-Gegenstand-Objet\", published in Berlin in 1922 by the Russian architect, painter, photographer and designer Lazar' Markovic Lisickij (1890-1941), better known as El' Lisickij, together with the Russian writer Il'ja Grigor'evic Èrenburg (1891-1967). Although it lasted only three issues (issues one and two were combined in a single volume which appeared in March/April 1922, while the last number appeared in May 1922), \"Vesc'\" had a strong influence on contemporary art. It was published in German, French and Russian and was meant both as a bridge between Russia and Europe after the years of war and revolution and as a symbol of the beginning of a new creative era. Mainly focusing on new Suprematist and Constructivist works, the journal included essays on several fields of art such as literature, cinema, theatre, painting, sculpture, architecture and music. In this paper I focus on the innovative graphic design of the two volumes of \"Vesc'\" entirely realized by El' Lisickij. Referring to his own theories about book design, Lisickij created a functional and innovative layout and a striking cover, challenging the traditional graphic design practice by using exclusively standard typographic elements such as punctuation marks, typographic lines, geometric forms and typesetting.
Journal Article