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Frases de El Lissitzky

Lázar Márkovich Lissitzky , conocido como El Lissitzky ,[1]​ fue un artista, diseñador, fotógrafo, maestro, tipógrafo y arquitecto ruso. Fue una de las figuras más importantes de la vanguardia rusa, contribuyendo al desarrollo del suprematismo junto a su amigo y mentor, Kazimir Malévich, y diseñó numerosas exposiciones y obras de propaganda para la Unión Soviética. Se le considera uno de los principales representantes del arte abstracto y pionero en su país del constructivismo. Su obra influyó grandemente en los movimientos de la Bauhaus, el constructivismo, y De Stijl, y experimentó con técnicas de producción y recursos estilísticos que posteriormente dominaron el diseño gráfico del siglo XX.

Toda la carrera de Lissitzky se guió por la creencia de que el artista podía ser un agente del cambio social, lo que más tarde resumió en su dicho, "das zielbewußte Schaffen" .[2]​ Era judío, y comenzó su carrera con ilustraciones de libros infantiles en yidis, en un esfuerzo por promover la cultura judía en Rusia, un país que estaba pasando por un enorme cambio en aquella época, y que acababa de revocar sus leyes antisemitas. A los quince años de edad comenzó a impartir enseñanza, una tarea a la que se dedicó durante la mayor parte de su vida. A lo largo de los años, enseñó desde diversos cargos, escuelas, y medios artísticos, difundiendo e intercambiando ideas a un ritmo rápido. Llevó consigo su ética cuando trabajó con Malévich liderando el grupo artístico suprematista UNOVIS, donde desarrolló una serie suprematista variante propia, los Prouns, y más aún todavía en 1921, cuando asumió un cargo como embajador cultural de Rusia en la Alemania de Weimar, trabajando con una serie de figuras destacadas, a las que influyó, tanto de la Bauhaus como del movimiento De Stijl. Durante el resto de su vida, realizó innovaciones significativas y cambios en los campos de la tipografía, diseño de exposiciones, fotomontaje, y diseño de libros, produciendo obras respetadas por los críticos y obteniendo el aplauso internacional por sus diseños de exposiciones. Así siguió hasta su muerte, produciendo su última obra en 1941, un cartel de propaganda soviética que instaba al pueblo a construir más tanques para la lucha contra la Alemania nazi. Wikipedia  

✵ 10. noviembre 1890 – 30. diciembre 1941
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El Lissitzky: Frases en inglés

“It has become obvious to the new architect that by virtue of his work he is taking an active part in the building of a new world. For us the work of an artist has no value 'as such'; it does not represent an end in itself; it has no intrinsic beauty. The value of a work of art is determined by its relationship to the community... The artist, or the creative worker, invents nothing; there is no such thing as divine inspiration. Thus we understand by the term 'reconstruction' the conquest of the unresolved, of the 'mysterious,' and the chaotic. In our [Russian] architecture, as in our entire life, we are striving to create a social order, i. e., to raise the instinctive to a conscious level.”

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El Lissitsky

Quote from: 'Ideological Superstructure'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

“The purpose of architecture is to transmute the emptiness into space, that is into something which our minds can grasp as an organized unity.”

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El Lissitsky

quote, p. 384
posthumous publications, El Lissitzky, El Lissitzky : Life, Letters, Texts (1967; 1980)

“PROUN is understood as the creative construction of form (based on the mastery of space) assisted by economic construction of the applied material. The goal of PROUN is progressive movement on the way to concrete creation, and not the substantiation, explanation, or promotion of life.”

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El Lissitsky

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“.. into this chaos [after the Bolshevik' revolution] came suprematism extolling the square [referring to the Squares of Malevich] as the very source of all creative expression, and then came communism and extolled work as the true source of man's heartbeat.”

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El Lissitsky

Quote, 1920; in 'Suprematism in World Reconstruction,', El Lissitzky; as cited by Sophie Lissitzky-Küppers in El Lissitzky: Life, Letters, Texts, transl. Helene Aldwinckle and Mary Whittall (Greenwich, Conn.: New York Graphic Society, 1968), p. 327
1915 - 1925

“This is the model we await from Kasimir Malevich. AFTER THE OLD TESTAMENT THERE CAME THE NEW AFTER THE NEW THE COMMUNIST AND AFTER THE COMMUNIST THERE FOLLOWS FINALLY THE TESTAMENT OF SUPREMATISM. [But in this text postponed in a far wider concept than Malevich meant his Suprematism ]”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“We must take note of the fact that the artist nowadays is occupied with painting flags, posters, pots and pans textiles and things like that. What is referred to as 'artistic work' has on the vast majority of occasions nothing whatever to do with creative effort: and the term 'artistic work' is used in order to demonstrate the 'sacredness' of the work which the artist does at his easel. The conception of 'artistic work' presupposes a distinction between useful and useless work and as there are only a few artists buyers can be found even for their useless products. The artist's work lies beyond the boundaries of the useful and the useless.”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“Cubism demonstrated in its constructions its modernity in relation to scale, but in painting and contre-relief we have in front of us an absolute scale which is this - forms in their natural size in the ratio 1 : 1. If however we wish to transform the contre-relief into an architectural structure and therefore enlarge it by one hundred times, then the scale ceases to be absolute and becomes relative in the ratio of 1 : 100. Then we get the American statue of liberty in whose head there is room for four men and from whose hand the light streams out.”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“Proun is the the Step-over from the art of painting to Architecture [original text in German:] (Umsteige-station von Malerei nach Architectur).”

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El Lissitsky

quote, 1925: in 'Kunstismen' ('Artisms', art magazine published by Lissitzky and Hans Arp, 1925); as quoted in: Richtingen in de Hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien; W.L & J. Brusse N.V. Rotterdam, 1935 (transl: Anne Porcelijn), p. 99
1915 - 1925

“The pace of life has increased in the last few decades just as the speed of the motor bicycle has been exceeded many times over by the aeroplane. After art passed through a whole series of intermediate stages it reached cubism where for the first time the creative urge to construct instinctively overcame conscious resolve.... from this point the picture started to gain stature as a new world of reality and in this way the foundation stone for a new representation of the shapes and forms of the material world was laid.”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“We have named PROUN [the art, stepping over from painting to architecture] a station on the path to the construction of the new form... From being a simple depicter the artist becomes a creator (builder) of forms for a new world — the world of objectivity. This does not mean the creation of a rivalry with the engineer. Art has not yet crossed paths with science.”

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El Lissitsky

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“It proved to be essential to clear the site for the new building. This idea was a forerunner of futurism which exposed the relentless nature of its motivating power. Revolutions had started undercover, everything grew more complicated. Painting economical in its creative output was still very complicated and uneconomical in its expression. cubism and futurism seized upon the purity of form treatment and colour and built a complicated and extensive system with them combining them without any regard for harmony. The rebuilding of life cast aside the old concept of nations classes patriotism and imperialism which had been completely discredited.”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“And amid the thunderous roar of a world in collision WE, ON THE LAST STAGE OF THE PATH TO SUPREMATISM BLASTED ASIDE THE OLD WORK OF ART LIKE A BEING OF FLESH AND BLOOD AND TURNED IT INTO A WORLD FLOATING IN SPACE. WE CARRIED BOTH PICTURE AND VIEWER OUT BEYOND THE CONFINES OF THIS SPHERE AND IN ORDER TO COMPREHEND IT FULLY THE VIEWER MUST CIRCLE LIKE A PLANET ROUND THE PICTURE WHICH REMAINS IMMOBILE IN THE CENTER. The empty phrase 'art for art's sake' had already been wiped out.”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“In America the architect has a direct and continuing relationship with technology. Perhaps this is why he does not ask more from technology than it can offer. In our country [Russia] it is still impossible to have such urban complexes as are found in Paris, Chicago, or Berlin. It is through technology that we can build a bridge to all the most recent achievements, which is what made it possible for our country to pass directly from the hoe to the tractor without having to travel the long path of historical development. That is why we want to introduce the most modern methods of building and construction into our country — and why we see the works and designs of both the 'formalists' and the 'constructivists' as a radical experiment in the manipulation of construction.”

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El Lissitsky

Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

“From the beginning of the [Sovjet] Revolution I was a member of the Committee for Art. Was commissioned for the first Soviet flag for the First of May 1918, which was carried across Red Square by members of the government. Later I worked at 'Izo Narkomprosa'. From 1919 I taught at the Higher Artists' Workshops in Vitebsk”

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El Lissitsky

our students Suetin, Judin and others
[the 'Vitebsk Higher Institute of Art'; - Lissitsky and Kazimir Malevich were invited to teach art by the director then Marc Chagall ]
1926 - 1941, Autobiography of the artist' (1941)

“In 1935 I was appointed leading artist of the All-Soviet Agricultural Exhibition. I opposed the errors of the first leader, and resigned. Afterwards, while I was still in the sanatorium, I took over the design of the main building. The design of the main hall has been done according to my idea until now. From 1931 on, I was leading artist-architect of the 'Permanent Building Exhibition'. But as the years went by, my health deteriorating, I had less and less energy left for this type of commission, such as the realization of large-scale exhibitions. I still succeeded in designing the project for the museum-exhibition of the Ministry of 'Social Security'.”

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El Lissitsky

1926 - 1941, Autobiography of the artist' (1941)

“Back in Moscow in 1925 - teacher at 'Vchutemas' of interior design and furniture at the faculty of wood and metalwork. In 1926 my most important artistic work began: designing exhibitions. In that year I was invited by the committee of the International Exhibition of Art in Dresden to design the space for contemporary art. Was sent abroad for by 'VOKS.”

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El Lissitsky

[In] 1927 Exhibition of Typography in Moscow.
1926 - 1941, Autobiography of the artist' (1941)

“The short step then required to complete the stride consists in recognition of the fact that a contre-relief is an architectonic structure, but the slightest deviation from the plumb-line of economy leads into a blind alley. The same fate must also overtake the architecture of cubist contre-relief... By taking these elements FROM THEM for itself it wants to become equally entitled to take its place alongside them as a new creation. The reference is to the narrow technical discoveries for example the submarine, the aeroplane, the motors and dynamos of every kind of motive power in each part of a battle-ship. Contre-relief is instinctively aware of their legitimate origin their economy of form and their realism of treatment.”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“We have had enough perpetually hearing MACHINE MACHINE MACHINE MACHINE. In the repetition of the word MACHINE, we read the modern artist's ambivalent relationship to mechanical reproduction: on the one hand, the rigorous linear order and uniform application of ink presented by the thrice-repeated type written line celebrates sterility; and on the other hand the content of the sentence itself bemoans the transformation of the industrial paradigm into an aesthetic cliché.”

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El Lissitsky

statement of Lissitzky, 1924; as quoted by Paul Galvez, in 'Self-Portrait of the Artist as a Monkey-Hand October', Vol. 93, (Summer, 2000), published by The MIT Press, pp. 109-137
1915 - 1925

“Construct yourselves.”

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El Lissitsky

Quote of Lissitzky 1922, in 'Suprematicheskii skaz pro dva kvadrata' (A Suprematist Tale about Two Squares); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932(transl. Todd Bludeau); Guggenheim Museum, New York, 1992, p. 28
1915 - 1925

“What we demand from the Soviet architect is that, as an artist and because of his perceptive intellect, he will fully comprehend and amplify the faintest ripple of developing energies much sooner than the masses — who tend to be shortsighted as far as their own growth is concerned — and that he will transform this energy into tangible architectural form... The club's role is to become a University of Culture. If one accepts the premise that private dwellings should strive to operate on the basis of the greatest possible austerity, then by contrast, public dwellings should provide the maximum of available luxury accessible to all. The term 'reconstruction' is therefore not applicable to this case, since there is no building precedent in the past.”

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El Lissitsky

Quote from: 'The Club as a social force'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

“At present [1941], not taking my serious illness into account, I still hope to make something for the 25th anniversary of the October Revolution. - El Lissitzky, June 1941, Moscow Notes.”

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El Lissitsky

1926 - 1941, Autobiography of the artist' (1941)

“Therefore THE IDEA OF 'ARTISTIC WORK' MUST BE ABOLISHED AS A COUNTER-REVOLUTIONARY CONCEPT OF WHAT IS CREATIVE and work must be accepted as one of the functions of the living human organism in the same way as the beating of the heart or the activity of the nerve centers, so that it will be afforded the same protection.”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“The path of the PROUN does not lie within the narrowly limited, fragmented, and isolated scientific disciplines — the builder consolidates them all together in his own experimental investigation. The path of the PROUN is not the incoherent approach of separate scientific disciplines, theories, and systems, but is rather the straightforward path of learned influence over reality.”

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El Lissitsky

1915 - 1925, Theses on the 'PROUN': from painting to architecture' (1920)

“Painting.... turned to the design of purely abstract volumetric forms... Since the leading exponent of the color theory was a painter (Malevich), he failed to recognize the objective reality of the world [in architecture! ]. Because he always looked at it only through his own eyes, he remained trapped in a world devoid of real objects. The broader implications of this had to be developed by us, the architects.”

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El Lissitsky

Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

“In the future it will be necessary on the one hand to establish a balance between the intimate and individualistic demands for housing, and on the other to take full account of general social conditions. Thus, for example, cooking should be transferred from the private single kitchen into the communal cooking laboratory; the main meal should be consumed in public eating establishments; and the rearing of children should become the responsibility of the kindergarten or the school... Presently our goal is the transition from housing as an agglomeration of many private dwellings to housing communes.”

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El Lissitsky

Quote from: 'Communal Housing'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)

“I was born on 23 November 1890 in a village in the province of Smolensk. Grew up in Smolensk, in the home of my grandfather, a cap-maker. Completed secondary school there. At the age of 15 I started earning money by giving drawing lessons. Passed the entrance examination of the art academy in Leningrad but, being a Jew, was not admitted due to the restricted percentage.”

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El Lissitsky

1926 - 1941, Autobiography of the artist' (1941)

“This dynamic architecture provides us with the new theater of life and because we are capable of grasping the idea of a whole town at any moment with any plan the task of architecture - the rhythmic arrangement of space and time - is perfectly and simply fulfilled for the new town will not be as chaotically laid out as the modern towns of north and south America but clearly and logically like a beehive..”

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El Lissitsky

1915 - 1925, Suprematism' in World Reconstruction (1920)

“During my stay in Germany in 1922 I collaborated with the writer Ehrenburg, on the Magazine 'Veshch' (Gegenstand) [= Object] (first pro-Soviet edition). [I] Took part in organizing the First Russian Art Exhibition 1922-23 in Berlin and Amsterdam. My works were purchased by European and American collectors and museums. The museum in New York acquired a 'Proun' from the Soviet Exhibition. At this time, in 1923, I contracted pulmonary tuberculosis.”

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El Lissitsky

1926 - 1941, Autobiography of the artist' (1941)

“In contrast to the old monumental art [the book] itself goes to the people, and does not stand like a cathedral in one place waiting for someone to approach…. [The book is the] monument of the future.”

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El Lissitsky

c. 1930
Wikipedia: El Lissitzky, note [2]
1926 - 1941

“The second conception of the world via the medium of matter required both a visual and a tactile perception of things. In this case the whole design process tends to emanate from the specific characteristics of the respective medium used. The leader of this movement (Tatlin) assumed.... that the intuitive and artistic mastery of materials would lead to inventions on the basis of which objects could be constructed. He believed he could prove this theory with his design for the 'Monument to the Third International' (1920), [never built]. He accomplished this task without having any special technical knowledge of construction.”

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El Lissitsky

Quote from: 'Basic Premises'
1926 - 1941, Rußland: Die Rekonstruktion der Architektur in der Sowjetunion' (1929)