El Lissitzky biocentrico: la fotografia come nuova sintesi tra Organismo e Meccanismo

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 specific texts by Ernst Kapp, Raoul Heinrich Francé and Aloys Müller, from which Lissitzky drew inspiration, to support the hypothesis that the artist used photography as ‘biocentric’ tool in order to ideally reunite the domains of Mechanism and Organism toward a phenomenologically inspired approach to art.

DOI: 10.4424/rsf2020-3