Konzept graphic by Karl Rögner
THE THIRD MEDIA STATION
To give an insight into el lissitzkys typography the exhibition makes use of a display case that exhibits some of the books ab- out his typography and some background information. Some Media Interfaces can be used to get further information and to look at other examples of lissitzkys typography. The station it- self is designed using some of his typographies and as a base color a shade of red that originates in some of lissitzkys work.
THE SECOND MEDIA STATION
The second part of the exhibition is dedicated to the Pro- uns that are known to be lost or disappeared. To convey a sense of abnormality to the observer the lost prouns are hung not perpendicular but in a slight angle and appear to be falling off the wall. In addition to the facsimiles the visitor can utilize an interactive media station to gather background information about the Prouns and what’s known about them.
THE CENTRAL CINEMA
The cinema is the heart of the exhibition. Accessible via the side entrance, a 360-degree projection opens up inside. The projections open up a Proun landsca- pe that can be experienced three-dimensionally in or- der to get a feeling for the depth of the artist‘s pictures. The cinema also marks the end of the exhibition. The elongated tunnel guides the visitor in the direction of the light in the exit.
THE BENCH
The bench is right in front of the entrance to the ci- nema. It is the last stop to sum up the exhibition and to complete the image of the artist that has been obtained. The design of the bench continues graphically on the outer wall of the cinema and flows graphically over the corner
THE ENTRANCE STATION
Beyond entering the visitor is familiarized to the ar- tist and the exhibition through an introductory text ab- out el lissitzky, his work, his life and his background. The first part of the exhibition addresses the prouns, a se- ries of exeperimental pieces which make up a great part of lissitzkys work. The Prouns are realized in varying tech- niques but all are composed of geometrical objects and portray the continuation of suprematism into the third di- mension. In this exhibition all the prouns are issued in chro- nological order to give the observer a better overview and outline the development of lissitzkys art through the years.
THE PLATTFORM
The platform in the last part of the exhibition offers the visitor thepossibility of a change of perspective. The staircase at the back leads to a raised level from which a large part of the exhibition can be overlooked and is intended to give a different impression. The back serves as an exhibition space. The hanging and wall design is an homage to the Lissitzky exhibition in 1928.
Project: Exhibition Project - Looking for El Lissitzky
Location: Berlin
Semester: 4th
Team partner: Dorothea Pusch
Karl Rögner
Ijla Shupert
Studio: Philip Norman Peterson
‘looking for el Lissitzky’ is an exhibition devo- ted to the work of Rus- sian avant-gardist Lasar Markowitsch Lissitzky. The ‘Neue Nationalga- lerie’ in Berlin, designed by famous architect Lud- wig Mies van der Rohe, acts as a venue for this exhibition. The extensi- ve, uninterrupted space introduces the possibili- ty of a free and creative exhibition design near- ly without boundaries. In this case, the architectu- re of the exhibition evol- ved from one of the works it issues. It’s the trans- formation and adaption of ‘Proun 6’ into the third dimension to match the space of the ‘Neue Natio- nalgalerie’ and to accom- modate all the contents of the exhibition. There- fore, the visitor metapho- rically and literally moves through a Proun while observing other Prouns.
The exposition is subdivi- ded into 6 sections, eachdealing with a differentform of art Lissitzky prac- ticed. It is focused on the Prouns, which are, being catalysts for his later work, exhibited in the first part of the exhibition to introduce into the work of el lissitz- ky. The lost Prouns are di- splayed as facsimiles in a different part of the expo- sition which also incorpo- rates a media station for background information. El Lissitzkys work in ty- pography can be exami- ned in display cases of another station. To get to the architectural artworks the visitor walks underne- ath a hanging surface to- wards the next part where the size of the architec- ture is made perceptible through projections to the walls. An elevated plat- form enables a change of perspective towards the architecture as well as the
whole exhibition. Through another gateway the visi- tor reaches the part of the route which deals with El Lssitzkys work in exhibi- tion design which itself is inspired by one of the ex- hibitions he designed. Itfinally connects the con- tents of the exhibition with the peripheral design andlinks back to the first partof the exhibition where the original Prouns aredisplayed. The final partof the exhibition is repre- sented by the 360 degree cinema which shows afilm about the social, po- litical and cultural envi- ronment in Russia at the period of origin of the va- rious art pieces to givethe visitor time to reflectover the art they just ex- perienced. The exit of the cinema and the exhibition altogether leads through a tapering tunnel into the natural light which marks the end of the tour and guides the visitor back into the present world.
Text by Ilja Shupert