Гипер-конструктивизм

Вклад Эль Лисицкого в строительство современного мира неоценим. И его участие в движении авангарда начала 20 века, и его влияние на новый авангард 70-х. Как сделать памятник из Проуна? Эль Лисицкий говорил: «Проун, начинаясь на поверхности, переходит в строительную модель пространстваи затем участвует в строительстве объектов». Эти объекты живут в слиянии пространства-времени, движения, вращения, верха и низа, образуя множество проекций - как бы пытаясь отдать дань мирам Эль Лисицкого. Но не с точки зрения анти-конструктивизма, что пытались сделать художники 70-х, а как формы гипер-конструктивизма, предугадывающего воображаемое пространство, которое строил Эль Лисицкий.

Hyper-constructive

Retaking the thought of El Lissitzky, almost one hundred years after it was expressed, it is a challenge "in itself", his legacy to build modern space is invaluable, since their participation in the avant-garde of the early twentieth century, even seduction new avantgarde prompting in 70's. Our proposal for the monument to El Lissitzky, arises from the interpretation of Proun, like him, believe that "the work of an artist no value 'in itself', not an end in itself, has no inherent beauty, everything this is acquired only in its relationship with the community”1, and this is what continues to seduce us with his artistic and intellectual, his endless struggle against worldview enclosed by the pyramid of perspective, is something that still remains in the art. But how to build a monument from Proun?, "Says Proun -El Lissitzky2- begins with the surface, advances in the construction of a spatial model, and continues until the construction of all objects of common life," and these common objects, are living in the fusion of space-time, through movement, spinning, from above and from below, causing a multitude of projections is like trying to celebrate the worlds of El Lissitzky, not anti-constructive ways, and tried the artists of the 70's, but as forms hyper-constructive, trying to predict the imaginary space that El Lissitzky trying to build at the end of 1929, exceeding our visual capacity, assuming that "is limited in regard to the conception of movement and even the state of an object as a whole." 3

1 El Lissitzky (1929). Superestructura ideológica, véase Conrads, Ulrich. [ed.] (1964). Programme und manifeste zur Architektur des 20.
Jahrhunderts, Frankfurt-Berlin: Verlag Ullstein GmbH. (1973). Programas y manifiestos de la arquitectura del siglo XX, Barcelona,
España: Editorial Lumen. (págs. 181-184)

2 El Lissitzky (1920). Proun, De Stijl, Vol. V, núm. 6, junio de 1922. González García, Ángel. Calvo Serraller, Francisco. Marchán Fiz, Simón.
[ed.] (1979). Escritos de arte de vanguardia 1900/1945. Madrid, España: Ediciones Akal, S.A. de C.V. (págs.306-309

3 El Lissitzky (1925). A. y pangeometría. Yates, Steve [ed.] (1995). Poetics of Space, New Mexico, USA: University of New Mexico Press.
Poéticas del espacio. Antología crítica sobre la fotografía, (2002). Barcelona, España: Gustavo Gili.