Between 1923 and 1925, the Russian artist El Lissitzky made numerous photographs, closely related to his organicist turn. The aim of this paper is to propose a close reading of these photographs in the light of the spe- cific texts by Ernst Kapp, Raoul Heinrich Francé and Aloys Müller, from which Lissitzky drew inspiration, to support the hypothesis that the art- ist used photography as ‘biocentric’ tool in order to ideally reunite the domains of Mechanism and Organism toward a phenomenologically inspired approach to art.
Carlotta Castellani, El Lissitzky ‘biocentrico’: la fotografia come nuova sintesi tra Organismo e Meccanismo, in "RSF. Rivista di studi di fotografia", n. 11, num. monografico "Fotografia e ambiente", 2020
Carlotta Castellani
Writing – Original Draft Preparation
2021
Abstract
Between 1923 and 1925, the Russian artist El Lissitzky made numerous photographs, closely related to his organicist turn. The aim of this paper is to propose a close reading of these photographs in the light of the spe- cific texts by Ernst Kapp, Raoul Heinrich Francé and Aloys Müller, from which Lissitzky drew inspiration, to support the hypothesis that the art- ist used photography as ‘biocentric’ tool in order to ideally reunite the domains of Mechanism and Organism toward a phenomenologically inspired approach to art.File in questo prodotto:
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