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Demonstration Rooms
In 1926Ā El LissitzkyĀ created an unconventional exhibition space in Dresden. HisĀ Room for Constructive ArtĀ connected the notion that space and the viewer are constitutive elements of an artwork and that the reception of art can be activated through the organisation of space. The publicationĀ Demonstration Rooms, which cites one of the terms Lissitzky used for his spatial designs, was produced in the context of a project at Dresdenās Albertinum that presented new artworks by CeĢline Condorelli, Kapwani Kiwanga, Judy Radul, and Heimo Zobernig. Their installations explored the relationship between art, space, and viewer within the specific context of the architecture, design, and collection of the Albertinum. They drew upon Lissitzkyās core ideas and a spatial design by Piet Mondrian, which was created in 1926 for the Dresden residence of art collector Ida Bienert.
El Lissitzky (1890-1941), one of the most influential Russian constructivists, worked in painting, graphic design, architecture, typography, and photography.
192 pages, 16 x 32 cm, softcover, Spector Books (Leipzig).
El Lissitzky (1890-1941), one of the most influential Russian constructivists, worked in painting, graphic design, architecture, typography, and photography.
192 pages, 16 x 32 cm, softcover, Spector Books (Leipzig).
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Demonstration Rooms
In 1926Ā El LissitzkyĀ created an unconventional exhibition space in Dresden. HisĀ Room for Constructive ArtĀ connected the notion that space and the viewer are constitutive elements of an artwork and that the reception of art can be activated through the organisation of space. The publicationĀ Demonstration Rooms, which cites one of the terms Lissitzky used for his spatial designs, was produced in the context of a project at Dresdenās Albertinum that presented new artworks by CeĢline Condorelli, Kapwani Kiwanga, Judy Radul, and Heimo Zobernig. Their installations explored the relationship between art, space, and viewer within the specific context of the architecture, design, and collection of the Albertinum. They drew upon Lissitzkyās core ideas and a spatial design by Piet Mondrian, which was created in 1926 for the Dresden residence of art collector Ida Bienert.
El Lissitzky (1890-1941), one of the most influential Russian constructivists, worked in painting, graphic design, architecture, typography, and photography.
192 pages, 16 x 32 cm, softcover, Spector Books (Leipzig).
El Lissitzky (1890-1941), one of the most influential Russian constructivists, worked in painting, graphic design, architecture, typography, and photography.
192 pages, 16 x 32 cm, softcover, Spector Books (Leipzig).
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In 1926Ā El LissitzkyĀ created an unconventional exhibition space in Dresden. HisĀ Room for Constructive ArtĀ connected the notion that space and the viewer are constitutive elements of an artwork and that the reception of art can be activated through the organisation of space. The publicationĀ Demonstration Rooms, which cites one of the terms Lissitzky used for his spatial designs, was produced in the context of a project at Dresdenās Albertinum that presented new artworks by CeĢline Condorelli, Kapwani Kiwanga, Judy Radul, and Heimo Zobernig. Their installations explored the relationship between art, space, and viewer within the specific context of the architecture, design, and collection of the Albertinum. They drew upon Lissitzkyās core ideas and a spatial design by Piet Mondrian, which was created in 1926 for the Dresden residence of art collector Ida Bienert.
El Lissitzky (1890-1941), one of the most influential Russian constructivists, worked in painting, graphic design, architecture, typography, and photography.
192 pages, 16 x 32 cm, softcover, Spector Books (Leipzig).
El Lissitzky (1890-1941), one of the most influential Russian constructivists, worked in painting, graphic design, architecture, typography, and photography.
192 pages, 16 x 32 cm, softcover, Spector Books (Leipzig).
