In the 1920s, the architect and artist El Lissitzky explored the essence of art perception. Lissitzky regarded the viewing of art as a creative act that that was a catalyst for cognitive processes. His creation of the Demonstration Room for the International Art Exhibition in Dresden in 1926 aimed to challenge conventional viewing norms. He encouraged visitors to discard their passive roles and engage actively through unconventional routes and perspectives.
As early as 1920, Lissitzky advocated for this engagement in his children’s book A Suprematist Tale of Two Squares. The narrative follows two squares flying through space until they land on Earth, where they encounter geometric shapes resembling building blocks. The collision of these shapes causes them to collapse. The squares from space and the building blocks on Earth then create something new together.
In the book, Lissitzky directly addresses readers twice. Instead of simply reading the book, he invites them to draw, build, and paint. By doing so, he fosters creativity among his readership. The book concludes with a reiterated call to action, ending with the words “Here it is all over,” emphasizing the transformative potential of art to reshape both individual lives and society.
Lissitzky coined the term “Proun” to describe his art, characterized by simple geometric forms often depicted in black or red against a white background. Much like in A Tale of Two Squares, these basic shapes convey a sense of dynamism, creating a spatiality that bridges the gap between art and architecture.
Text: Isabell Baldermann, Education and Art Mediation
- Museum
- Archiv der Avantgarden
- Inventory number
- I 556