Some of you may remember the El Lissitzky exhibition we had at the Phillips in 2006-07, featuring two of the artist’s striking 1923 futurist print portfolios, Proun and Victory over the Sun. On that occasion, artist Hideyo Okamura presented the prints in a dynamic installation inspired by Lissitzky’s art and the three-dimensional abstract rooms he created in the 1920s. In the accordion-like space of number 6 from the Proun portfolio, Lissitzky provides a glimpse of the first Proun Room he had created for the Great Berlin Art Exhibition in 1923. Here Lissitzky’s bold compositions meld seamlessly with painted designs and reliefs on the walls to create a continuous sensation of movement.
In their current presentation at the Phillips, these two Kestner Society portfolios from the collection of Fenner Milton are making another appearance. Seen this time without the intervention of a contemporary artist, the lithographs animate an L-shaped gallery, inviting the viewer to move in, through, and around their orbiting planar forms. For Lissitzky, the role of the spectator was key to activating his work. “While we turn,” he once said, “we raise ourselves into space.”
Lissitzky’s synthesis of painting and architecture into fluid, three-dimensional immersive environments was incredibly radical for the time. It is interesting to contemplate the legacy of his invention and its contemporary reverberations in the creation of artist rooms today.
Elsa Smithgall, Curator