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2020 | OriginalPaper | Chapter

Topography and Topology of the Interior: Lissitzky vs. Florenskij

Authors : Fabrizio Gay, Irene Cazzaro

Published in: Proceedings of the 2nd International and Interdisciplinary Conference on Image and Imagination

Publisher: Springer International Publishing

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Abstract

The representation of the interiors in exhibitions – as “exemplary interiors” – and in the graphic, photographic, cinematographic images, is studied here according to the theme of the “anti-perspective” that characterises the two opposite tendencies – the abstractionist and the realist one – in the teaching of graphic arts at VChUTEMAS in Moscow. On the one hand, the best example of Proun, intended both as a graphic representation and a spatial installation, is the Kabinett der Abstrakten by El Lissitzky. On the other hand, Pavel Florenskij’s teaching opposes to the naive abstractionism a realist semiotics of the work of art and an anti-Kantian geometry that we exemplify by showing its analogy with the conception of “internal space” expressed by Andrej Tarkovskij in Solaris.

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The statement of the prototypic and emblematic role of the exhibition space in Hanover, in the genealogy of the 20th century art, begins with the famous MoMA director Alfred Barr (cf. Cauman 1958, pp. 105–108).

The two museum arrangements by Lissitzky – the Raum für konstruktive Kunst at the Internationale Kunstausstellung in Dresden in 1926 (Fig. 4) and the Kabinett der Abstrakten in Hanover in 1927 – come from the famous Proun room made by himself in Berlin in 1923 (cf. Brodsky 1980).

For a more accurate description cf. Samuel Cauman (1958, p. 104).

According to Schuldt (1965, p. 29) we especially refer to the two Viking Eggeling’s films.

As Kostelanetz specifies (1974, p.160), the wall was divided into three horizontal stripes: the highest is an opalescent box made of glass and muslin, the central one is an adjustable curtain, the lowest one is composed by a piece of furniture with interchangeable showcases for watercolours and sculptures.

It is recalled that orthogonal axonometries – i.e. those that have as a projection centre the direction orthogonal to the representation plane – are closer to the effect of the (phenomenic) direct vision, deleting the effects of marginal aberration typical of oblique axonometries.

On the relationships between projects and utopias in the contradictions of the constructivist avant-garde see above all Tafuri (1980).

Institution incorporated in 1921 into the “Russian Academy of Art Sciences” (RAChN) in Moscow; overall, we refer to a research organism active between 1920 and 1924 devoted to the study on semiotic effectiveness of the visual artefacts through the analysis of the laws of perception of the work of art from the morphological point of view – according to an evolution of the formalist and purovisibilist approach – and from the experimental one, through the production and test of sample objects interpreted on the basis of the contemporary tools of psychophysiology.

The state institute (Laboratory) active in Moscow between 1920 and 1930, which brought together the teaching of arts (without differences between fine and applied ones), of architecture and of what we would now define areas of design.

His lessons at Vchutemas in 1920–24 (Florenskij 2007) return to the subjects that had been covered since 1919 with the famous lecture on “reverse perspective” and on “The church ritual as a synthesis of the arts” (Florenskij 1990), as well as in his well-known treatise on the icon, written in 1921–22.

Cf. Florenskij (2007, pp. 99–103).

He believed that this “artistic nihilism” could undermine the vital function of the arts in the dialogue between generations. Therefore, in his lessons, he chooses as the main subject not the individual, but the Lineage through time (Florenskij 2007 pp. 149–153).

On the plurality of figurative spaces see as an example the Third lesson at VChUTEMAS, (19-12-1923), (Florenskij 2007, pp. 265–280).

Arp, J., Lissitzky, E.: Die Kunstismen/Les Ismes de l'art/The Isms of art. Lars Müller, Baden [1925] (1990)

Bois, Y.-A.: Metamorphosis of Axonometry. Daidalos (1), 40–58 (1981)

Bois, Y.-A.: El Lissitzky: radical reversibility. Art Am. (4), 160–181 (1988)

Brodsky, B.: El Lissitzky. In: Barron, S., Tuchman (A C. Di), M. (eds.) The Avant-Garde in Russia, 1910–1930: New Perspectives. Los Angeles County Museum of Art, Los Angeles, Cambridge, Mass, London (1980)

Cauman, S.: Living Museum: Experiences of an Art Historian, Alexander Dorner. New York University Press, New York (1958)

Florenskij, P.A.: La prospettiva rovesciata e altri scritti. Gangemi Editore, Roma (1990). (Misler, N. Di, A.C., Muschio, C., Trad.)

Florenskij, P.A.: Lo spazio e il tempo nell’arte. Adelphi, Milano (2007). (Misler, N., Di, A.C.)

Florenskij, P.A.: Les imaginaires en géométrie: extension du domaine des images géométriques à deux dimensions: (essai d’une nouvelle concrétisation des imaginaires). (Villani, C., Lhoest, F., Vanhove, P., Di, A.C.). Bruxelles; Paris: Zones sensibles; Belles Lettres diffusion (2016)

Kostelanetz, R.: Moholy-Nagy. Allen Lane, London (1974)

Löschke, S.K.: Crafting relations: aspects of materiality and interactivity in exhibition environments. Craft + Design Enq. (4), 89–108 (2012)

Misler, N.: Il rovesciamento della prospettiva. In: Florenskij, P.A., Muschio, C. (Trad.), La prospettiva rovesciata e altri scritti. Gangemi Editore, Roma (1990)

Pérez Gómez, A., Pelletier, L.: Architectural Representation and the Perspective Hinge. MIT Press, Cambridge (2000)

Reichlin, B.: L’assonometria come progetto: uno studio su Alberto Sartoris. Lotus Int. 22, 82–93 (1979)

Scolari, M.: Elementi per una storia dell’axonometria. Casabella (500), 42–49 (1984)

Scolari, M.: Il disegno obliquo: una storia dell’antiprospettiva. Marsilio, Venezia (2005). (Ackerman, J.S., Di, A.C.)

Tafuri, M.: Urss-Berlino 1922: dal populismo all’ «internazionale costruttivista». In: La sfera e il labirinto, pp. 141–182. G. Einaudi, Torino (1980)

Title: Topography and Topology of the Interior: Lissitzky vs. Florenskij
Authors: Fabrizio Gay
Irene Cazzaro
Publisher: Springer International Publishing
Book: Proceedings of the 2nd International and Interdisciplinary Conference on Image and Imagination
Print ISBN: 978-3-030-41017-9

Electronic ISBN: 978-3-030-41018-6

Copyright Year: 2020
DOI: https://doi.org/10.1007/978-3-030-41018-6_67

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