BUYI
Comic ｜ Graphic work ｜ Research
Revolving Doors
translated from Man Ray. ”Revolving Doors”, in: Man Ray: Writings on Art. ed. by Jennifer Mundy, with Andrew Strauss and Edouard Sebline, consulting editors. Los Angeles: The Getty Research Institute, 2016: 52-57.
Between 1916 and 1917, artist and photographer Man Ray created a series of collages titled "Revolving Doors." These collages combined geometric shapes with machine and anthropomorphic forms and were mounted on a revolving rod, allowing viewers to rotate. This series, along with related texts, was successively published and exhibited in the 1919 issue of TNT magazine, at the Daniel Gallery in New York, the Société Anonyme in 1920, and the Galerie Surréaliste in 1926. Although the original collages were destroyed, the limited edition color pochoir prints produced and published by Man Ray in 1926 still offer an imagined way of viewing them.
translated from Man Ray. ”Revolving Doors”, in: Man Ray: Writings on Art. ed. by Jennifer Mundy, with Andrew Strauss and Edouard Sebline, consulting editors. Los Angeles: The Getty Research Institute, 2016: 52-57.
Between 1916 and 1917, artist and photographer Man Ray created a series of collages titled "Revolving Doors." These collages combined geometric shapes with machine and anthropomorphic forms and were mounted on a revolving rod, allowing viewers to rotate. This series, along with related texts, was successively published and exhibited in the 1919 issue of TNT magazine, at the Daniel Gallery in New York, the Société Anonyme in 1920, and the Galerie Surréaliste in 1926. Although the original collages were destroyed, the limited edition color pochoir prints produced and published by Man Ray in 1926 still offer an imagined way of viewing them.
《旋转门》
译自Man Ray. ”Revolving Doors”, in: Man Ray: Writings on Art. ed. by Jennifer Mundy, with Andrew Strauss and Edouard Sebline, consulting editors. Los Angeles: The Getty Research Institute, 2016: 52-57.
译自Man Ray. ”Revolving Doors”, in: Man Ray: Writings on Art. ed. by Jennifer Mundy, with Andrew Strauss and Edouard Sebline, consulting editors. Los Angeles: The Getty Research Institute, 2016: 52-57.
1916年至1917年间，艺术家兼摄影师曼·雷创作了一系列名为“旋转门”的拼贴画，这些拼贴画的几何形状结合了机器和拟人造型，被装裱后安装在一个旋转杆上，观众可以旋转观看。1919年《TNT》杂志、纽约丹尼尔画廊(Daniel Gallery)，1920年无名社(Société Anonyme)及1926年超现实主义画廊(Galerie Surréaliste)陆续发表和展出了这一系列作品及相关文字。尽管最初的拼贴画已被毁坏，曼·雷在1926年制作出版的限量版彩色模板印刷品(color pochoir prints)仍提供了一种想象中的观看。
Full text click here
The Isms of Art
translated from El Lissitzky and Hans Arp, Die Kunstismen: 1914-1924, Zürich/München/Leipzig: Eugen Rentsch Verlag, 1925; 2024
In 1924, the Russian avant-garde artist EI Lissitzky was enthusiastically planning a "final parade of all the isms", a comprehensive summary of the avant-garde schools of art of the past decade. It was originally planned to be published as the last issue of MERZ in 1924. The French artist Hans Arp was immediately in favour of the idea of establishing an order among the various new groups that were constantly emerging. With Arp's participation, this "parade", entitled The Isms of Art, was published in 1925 by the publishing house Eugen Rentsch (Zurich, Munich, Leipzig). Based on sixteen schools, including Cubism, Futurism, Suprematism, and Dada and Merz, Lissitzky and Arp summarised the state of avant-garde art in 1924, dating back to 1914, in order to clarify its common roots and general ideas.
translated from El Lissitzky and Hans Arp, Die Kunstismen: 1914-1924, Zürich/München/Leipzig: Eugen Rentsch Verlag, 1925; 2024
In 1924, the Russian avant-garde artist EI Lissitzky was enthusiastically planning a "final parade of all the isms", a comprehensive summary of the avant-garde schools of art of the past decade. It was originally planned to be published as the last issue of MERZ in 1924. The French artist Hans Arp was immediately in favour of the idea of establishing an order among the various new groups that were constantly emerging. With Arp's participation, this "parade", entitled The Isms of Art, was published in 1925 by the publishing house Eugen Rentsch (Zurich, Munich, Leipzig). Based on sixteen schools, including Cubism, Futurism, Suprematism, and Dada and Merz, Lissitzky and Arp summarised the state of avant-garde art in 1924, dating back to 1914, in order to clarify its common roots and general ideas.
《艺术主义》
译自El Lissitzky and Hans Arp, Die Kunstismen: 1914-1924, Zürich/München/Leipzig: Eugen Rentsch Verlag, 1925; 2024
译自El Lissitzky and Hans Arp, Die Kunstismen: 1914-1924, Zürich/München/Leipzig: Eugen Rentsch Verlag, 1925; 2024
1924年，俄罗斯先锋派艺术家埃尔·李西茨基[EI Lissitzky]正热情洋溢地筹划一场“所有主义的最后阅兵”，对过去十年的先锋艺术流派进行一次全面总结。原计划作为1924年梅尔茨（MERZ）的最后一期出版。法国艺术家汉斯·阿普[Hans Arp]立即表示赞成，即在不断涌现的各种新团体中建立一种秩序。在阿普的参与下，这场名为《艺术主义》的“阅兵”于1925年由欧根·伦奇出版社（苏黎世、慕尼黑、莱比锡）出版。李西茨基和阿普以立体主义、未来主义、至上主义以及达达和梅尔茨等十六个流派为基础，对1924年的先锋艺术状况进行了总结，并将其追溯到1914年，以澄清其共同根源和总体思想。
Full text click here
Photo-eye
Introduction translated from Inka Graeve Ingelmann. “Mechanics and Expression: Franz Roh and the New Vision—A Historical Sketch.” In Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949. An Online Project of The Museum of Modern Art. New York: The Museum of Modern Art, 2014. “Mechanismus und Ausdruck” transtated from Franz Roh. Foto-auge, 76 Fotos der Zeit. Stuttgart: Akademischer Verlag Dr. Fritz Wedekind & Co., 1929; 2023
Introduction translated from Inka Graeve Ingelmann. “Mechanics and Expression: Franz Roh and the New Vision—A Historical Sketch.” In Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949. An Online Project of The Museum of Modern Art. New York: The Museum of Modern Art, 2014. “Mechanismus und Ausdruck” transtated from Franz Roh. Foto-auge, 76 Fotos der Zeit. Stuttgart: Akademischer Verlag Dr. Fritz Wedekind & Co., 1929; 2023
Photo-eye is one of the most influential exhibitions in the movement of the New Vision and a publication associated with it from a century ago. This translation consists of two parts, the first being Inka Graeve Ingelmann's brilliant introduction to the book, and the second being the programmatic text in the book written by Franz Roh.
《摄影—眼》
导读译自Inka Graeve Ingelmann. “Mechanics and Expression: Franz Roh and the New Vision—A Historical Sketch.” In Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949. An Online Project of The Museum of Modern Art. New York: The Museum of Modern Art, 2014. “机械与表达——摄影的本质与价值”译自Franz Roh. Foto-auge, 76 Fotos der Zeit. Stuttgart: Akademischer Verlag Dr. Fritz Wedekind & Co., 1929; 2023
导读译自Inka Graeve Ingelmann. “Mechanics and Expression: Franz Roh and the New Vision—A Historical Sketch.” In Mitra Abbaspour, Lee Ann Daffner, and Maria Morris Hambourg, eds. Object:Photo. Modern Photographs: The Thomas Walther Collection 1909–1949. An Online Project of The Museum of Modern Art. New York: The Museum of Modern Art, 2014. “机械与表达——摄影的本质与价值”译自Franz Roh. Foto-auge, 76 Fotos der Zeit. Stuttgart: Akademischer Verlag Dr. Fritz Wedekind & Co., 1929; 2023
《摄影—眼》是一百年前新摄影领域最具影响力的一次展览及与之关联的一本出版物。本翻译共包含两部分内容，第一部分是因卡·格雷弗·英格曼[Inka Graeve Ingelmann]对《摄影—眼》这本书的导读“机械与表达：弗朗茨·罗与新视觉——历史概要”，第二部分是该书中弗朗茨·罗[Franz Roh]撰写的纲领性文字“机械与表达——摄影的本质与价值”。
Full text click here
Rotoreliefs
translated from Rosalind E. Krauss. The Optical Unconscious, Cambridge, Mass.: MIT Press, 1994, 96-97; with abridgement, 2023
In 1935, Marcel Duchamp published Rotoreliefs. This work consists of a set of six discs with a spiral pattern printed on both sides in the manner of an offset lithograph, 20 cm in diameter, and intended to be rotated on a turntable at a speed of 40-60 rpm. They exemplify Duchamp's interest in optical illusions and mechanical art —two-dimensional patterns that create the illusion of depth when rotated at a specific speed. A total of 500 editions of Rotoreliefs were produced, and were initially displayed and sold at the Concours Lépine in Paris.
translated from Rosalind E. Krauss. The Optical Unconscious, Cambridge, Mass.: MIT Press, 1994, 96-97; with abridgement, 2023
In 1935, Marcel Duchamp published Rotoreliefs. This work consists of a set of six discs with a spiral pattern printed on both sides in the manner of an offset lithograph, 20 cm in diameter, and intended to be rotated on a turntable at a speed of 40-60 rpm. They exemplify Duchamp's interest in optical illusions and mechanical art —two-dimensional patterns that create the illusion of depth when rotated at a specific speed. A total of 500 editions of Rotoreliefs were produced, and were initially displayed and sold at the Concours Lépine in Paris.
《旋转浮雕》
译自Rosalind E. Krauss. The Optical Unconscious, Cambridge, Mass.: MIT Press, 1994, 96-97; 部分删减, 2023
1935年，马塞尔·杜尚 [Marcel Duchamp]发表了《旋转浮雕》。这一作品由一套六张光盘组成，以胶印石版画的方式双面印有螺旋形图案，直径20厘米，计划在转盘上以40-60转/分的速度旋转。它们体现了杜尚对光学错觉和机械艺术的兴趣——二维图案以特定速度旋转时会产生深度错觉。《旋转浮雕》共生产了 500 版，最初在巴黎Concours Lépine发明家博览会上展示和出售。本翻译为罗莎琳德·克劳斯[Rosalind E. Krauss]对这一事件及作品的评论节选。
译自Rosalind E. Krauss. The Optical Unconscious, Cambridge, Mass.: MIT Press, 1994, 96-97; 部分删减, 2023
1935年，马塞尔·杜尚 [Marcel Duchamp]发表了《旋转浮雕》。这一作品由一套六张光盘组成，以胶印石版画的方式双面印有螺旋形图案，直径20厘米，计划在转盘上以40-60转/分的速度旋转。它们体现了杜尚对光学错觉和机械艺术的兴趣——二维图案以特定速度旋转时会产生深度错觉。《旋转浮雕》共生产了 500 版，最初在巴黎Concours Lépine发明家博览会上展示和出售。本翻译为罗莎琳德·克劳斯[Rosalind E. Krauss]对这一事件及作品的评论节选。
Object of My Affection
Introduction translated from https://sis.modernamuseet.se/objects/85923/objects-of-my-affection-man-ray-1944; commentaries and explanations translated from Man Ray. Man Ray: writings on art. ed. by Jennifer Mundy, Los Angeles: Getty Research Institute, 2016, 274-291; 2023
When Man Ray moved to Hollywood in 1940, he had been forced to leave most of his works in Paris. He needed to show his art to new audiences in the USA, and therefore he made new versions of some of his former objects, often based on photographs. Objects of My Affection was the name he gave to this collection. In 1944, he compiled an album with this title, containing a selection of photographs and objects, paintings and interiors. To accompany each picture he wrote a commentary - quirky, and often ambiguous. This poetic book enigmatically summarises the essential aspects of Man Ray's oeuvre.
Introduction translated from https://sis.modernamuseet.se/objects/85923/objects-of-my-affection-man-ray-1944; commentaries and explanations translated from Man Ray. Man Ray: writings on art. ed. by Jennifer Mundy, Los Angeles: Getty Research Institute, 2016, 274-291; 2023
When Man Ray moved to Hollywood in 1940, he had been forced to leave most of his works in Paris. He needed to show his art to new audiences in the USA, and therefore he made new versions of some of his former objects, often based on photographs. Objects of My Affection was the name he gave to this collection. In 1944, he compiled an album with this title, containing a selection of photographs and objects, paintings and interiors. To accompany each picture he wrote a commentary - quirky, and often ambiguous. This poetic book enigmatically summarises the essential aspects of Man Ray's oeuvre.
《我喜爱之物》
导读译自 https://sis.modernamuseet.se/objects/85923/objects-of-my-affection-man-ray-1944; 评论和注释译自Man Ray. Man Ray: writings on art. ed. by Jennifer Mundy, Los Angeles: Getty Research Institute, 2016, 274-291; 2023
1940年，当曼·雷[Man Ray]搬到好莱坞时，他被迫将大部分作品留在了巴黎。艺术家需要向美国的新观众展示他的艺术，因此他着手为以前的一些物品制作新版本，通常以照片为基础。“我喜爱之物”是他为这个系列起的名字。1944年，曼·雷以此为题编了一本合辑，其中包括一些照片、物品、绘画和室内装饰。在每张照片旁边，他都写了一段评论——古怪，且模棱两可的。这本诗意的书神秘地总结了曼·雷作品的精髓。
导读译自 https://sis.modernamuseet.se/objects/85923/objects-of-my-affection-man-ray-1944; 评论和注释译自Man Ray. Man Ray: writings on art. ed. by Jennifer Mundy, Los Angeles: Getty Research Institute, 2016, 274-291; 2023
1940年，当曼·雷[Man Ray]搬到好莱坞时，他被迫将大部分作品留在了巴黎。艺术家需要向美国的新观众展示他的艺术，因此他着手为以前的一些物品制作新版本，通常以照片为基础。“我喜爱之物”是他为这个系列起的名字。1944年，曼·雷以此为题编了一本合辑，其中包括一些照片、物品、绘画和室内装饰。在每张照片旁边，他都写了一段评论——古怪，且模棱两可的。这本诗意的书神秘地总结了曼·雷作品的精髓。
Full text click here
The Delicious Fields
translated from Christopher Phillips (ed.). Photography in the Modern Era : European Documents and Critical Writings, 1913-1940. New York: The Metropolitan Museum of Art, 1989, 4—6; originally published in Man Ray. Les Champs délicieux. Paris: Société générale d’imprimerie et d’éditions, 1922, the text is the preface of the album written by Tristan Tzara; 2022
In 1922, Man Ray published a limited edition album called The Delicious Fields (40 copies were issued) containing 12 rayographs. Rayographs is a photographic image made without a camera by exposing an object to light by placing it directly on the surface of a light-sensitive material (such as photographic paper). Man Ray combined his name "ray" with the word "photograph" to form the term "rayograph" to describe this type of photography. This translation is the preface to the book written by the poet Tristan Tzara.
translated from Christopher Phillips (ed.). Photography in the Modern Era : European Documents and Critical Writings, 1913-1940. New York: The Metropolitan Museum of Art, 1989, 4—6; originally published in Man Ray. Les Champs délicieux. Paris: Société générale d’imprimerie et d’éditions, 1922, the text is the preface of the album written by Tristan Tzara; 2022
In 1922, Man Ray published a limited edition album called The Delicious Fields (40 copies were issued) containing 12 rayographs. Rayographs is a photographic image made without a camera by exposing an object to light by placing it directly on the surface of a light-sensitive material (such as photographic paper). Man Ray combined his name "ray" with the word "photograph" to form the term "rayograph" to describe this type of photography. This translation is the preface to the book written by the poet Tristan Tzara.
《迷人的田野》
译自 Christopher Phillips (ed.). Photography in the Modern Era : European Documents and Critical Writings, 1913-1940. New York: The Metropolitan Museum of Art, 1989, 4—6; 原文发表于Man Ray. Les Champs délicieux. Paris: Société générale d’imprimerie et d’éditions, 1922，为Tristan Tzara为该影集撰写的序言; 2022
译自 Christopher Phillips (ed.). Photography in the Modern Era : European Documents and Critical Writings, 1913-1940. New York: The Metropolitan Museum of Art, 1989, 4—6; 原文发表于Man Ray. Les Champs délicieux. Paris: Société générale d’imprimerie et d’éditions, 1922，为Tristan Tzara为该影集撰写的序言; 2022
1922年，曼·雷[Man Ray]出版了一本名为《迷人的田野》的限量版影集(共发行了40版)，其中包含12张无相机摄影作品。无相机摄影是在没有照相机的情况下，通过将物体直接放在感光材料(如相纸)表面，将其暴露在光线下制成的摄影图像。曼·雷将自己的名字 (ray) 与“照片 (photograph)”一词合并为rayograph，以描述此类摄影作品。本翻译为诗人特里斯坦·查拉[Tristan Tzara]为这本影集撰写的序言。
Full text click here
Eindhoven 1990
Exhibition Rooms
translated from “Demonstrationsräume” in EL Lissitzky, 1929 Rußland: Architektur für eine Weltrevolution, hrsg. v. Ulrich Conrads und Peter Neitzke, Berlin 1965: 129-134; 2022. The original text is a typewritten text in the archives of the Lower Saxony Provincial Museum, Hanover.
This translation is an introduction written by the Russian avant-garde artist EI Lissitzky for two exhibition rooms he designed in Germany between 1926-27: the New Art (Constructivism) Room for the International Art Exhibition in Dresden, and the New Art (from Cubism on) collection room at the Hanover Museum. By posing problems and solutions, the artist shows the reader the role and construction of these optical games with an interactive nature.
translated from “Demonstrationsräume” in EL Lissitzky, 1929 Rußland: Architektur für eine Weltrevolution, hrsg. v. Ulrich Conrads und Peter Neitzke, Berlin 1965: 129-134; 2022. The original text is a typewritten text in the archives of the Lower Saxony Provincial Museum, Hanover.
This translation is an introduction written by the Russian avant-garde artist EI Lissitzky for two exhibition rooms he designed in Germany between 1926-27: the New Art (Constructivism) Room for the International Art Exhibition in Dresden, and the New Art (from Cubism on) collection room at the Hanover Museum. By posing problems and solutions, the artist shows the reader the role and construction of these optical games with an interactive nature.
《展示空间》
译自埃尔·李西茨基，《俄国1929：世界革命的建筑》，1965：129-134; 2022. 原文为藏于下萨克森州博物馆档案中的打字机文本，汉诺威。
本翻译为俄罗斯先锋艺术家埃尔·李西茨基[EI Lissitzky]对其1926-27年间在德国设计的两个展览空间的说明：一个是德累斯顿国际艺术展中的新艺术（构成主义）展室，一个是汉诺威博物馆的新艺术（从立体主义开始）收藏室。通过提出问题和解决办法，艺术家向读者展示了这些带有互动性质的光学游戏的作用和构造。
译自埃尔·李西茨基，《俄国1929：世界革命的建筑》，1965：129-134; 2022. 原文为藏于下萨克森州博物馆档案中的打字机文本，汉诺威。
本翻译为俄罗斯先锋艺术家埃尔·李西茨基[EI Lissitzky]对其1926-27年间在德国设计的两个展览空间的说明：一个是德累斯顿国际艺术展中的新艺术（构成主义）展室，一个是汉诺威博物馆的新艺术（从立体主义开始）收藏室。通过提出问题和解决办法，艺术家向读者展示了这些带有互动性质的光学游戏的作用和构造。
Full text click here
1924√+ ∞ - = NASCI
译自Merz 8/9, April/July 1924; Vol.2, No.8/9; 2022
译自Merz 8/9, April/July 1924; Vol.2, No.8/9; 2022
Merz magazine was published in Hanover by the Dada artist Kurt Schwitters between 1923 and 1932. The August/September issue of 1924 is bilingual (German-French), co-edited by Lissitzky and Schwitters, with some images and texts extracted from other magazines. The authors were mostly from the their circle — among them also architects. These “raw-material” takes on new meaning through Lissitzky's layout design. The translator realised during the translation process that the German and French versions sometimes have very different meanings, but she ignored this and chose her preferred expression.
《1924√+ ∞ - = NASCI》
译自Merz 8/9, April/July 1924; Vol.2, No.8/9; 2022
译自Merz 8/9, April/July 1924; Vol.2, No.8/9; 2022
Merz杂志由达达艺术家库尔特·施维特斯[Kurt Schwitters]1923年至1932年间在汉诺威出版。1924年8/9月这期德法双语双月刊由李西茨基和施维特斯共同编辑，部分图像和文字摘取自其它杂志。创作者多来二人朋友圈——其中也不乏建筑师。这些材料经由李西茨基的排版获得了新意义。译者在翻译过程中意识到德语与法语有时意义相去甚远，但她忽略了这一点，选择了自己更喜欢的表达。
Full text click here
Film is Rhythm
translated from G1, edited by Werner Graeff and El Lissitzky and published by Hans Richter, Berlin, 1923.7; 2021
In 1921, the German artist Hans Richter entered the field of experimental film, investigating geometric composition and movement in musical counterpoint. His work Rhythm 21 premiered in Paris on 6 July 1923, and a revised version, Rhythm 23, was screened on 10 May 1925 in Berlin. The present translation of the artist's article "Film is Rhythm", published in the first issue of the magazine G in 1923, looks to be the script on which the film Rhythm is based.
translated from G1, edited by Werner Graeff and El Lissitzky and published by Hans Richter, Berlin, 1923.7; 2021
In 1921, the German artist Hans Richter entered the field of experimental film, investigating geometric composition and movement in musical counterpoint. His work Rhythm 21 premiered in Paris on 6 July 1923, and a revised version, Rhythm 23, was screened on 10 May 1925 in Berlin. The present translation of the artist's article "Film is Rhythm", published in the first issue of the magazine G in 1923, looks to be the script on which the film Rhythm is based.
《电影即节奏》
译自G1, 由Werner Graeff/El Lissitzky编辑, Hans Richter出版, 柏林, 1923.7; 2021
译自G1, 由Werner Graeff/El Lissitzky编辑, Hans Richter出版, 柏林, 1923.7; 2021
1921年，德国艺术家汉斯·里希特[Hans Richter]进入实验电影领域，以音乐对位法研究几何构成和运动。1923年7月6日，其作品《节奏21》在巴黎首映，1925年5月10日在柏林上映修改版《节奏23》。本翻译为艺术家发表在1923年第一期《基础造型杂志》 (G) 上的文章《电影即节奏》，看上去是电影《节奏》的基础脚本。
Full text click here
Figurines
translated from “Figurinen” in EL Lissitzky, 1929 Rußland: Architektur für eine Weltrevolution, hrsg. v. Ulrich Conrads und Peter Neitzke, Berlin 1965: 116-138; 2021.
The portfolio Figurines consists of a series of works created by the Russian avant-garde artist El Lissitzky in Moscow between 1920 and 1921. It contains a total of ten plates titled: 1. Part of the Mechanical Setting, as the front page; 2. Announcer; 3. Sentry; 4. Anxious Ones; 5. The Globetrotter; 6. Sportsmen; 7. The Sentinel; 8. An Old Man; 9. Gravediggers; 10. The New Man. The characters and settings are related to the Russian futuristic opera Victory over the Sun, premiered in 1913. This translation is the preface to the portfolio.
The portfolio Figurines consists of a series of works created by the Russian avant-garde artist El Lissitzky in Moscow between 1920 and 1921. It contains a total of ten plates titled: 1. Part of the Mechanical Setting, as the front page; 2. Announcer; 3. Sentry; 4. Anxious Ones; 5. The Globetrotter; 6. Sportsmen; 7. The Sentinel; 8. An Old Man; 9. Gravediggers; 10. The New Man. The characters and settings are related to the Russian futuristic opera Victory over the Sun, premiered in 1913. This translation is the preface to the portfolio.
《小像》
译自埃尔·李西茨基，《俄国1929：世界革命的建筑》，1965：116-118; 2021.
《小像》为俄罗斯先锋艺术家埃尔·李西茨基[EI Lissitzky]1920/21年在莫斯科创作的作品片段。文件夹内有图版共十张，分别名为：1. 舞台机械局部，作为首页；2. 报幕员；3.值岗者；4. 恐惧者；5. （时间）环球旅游者；6. 运动员；7. 策划者；8. 老者；9. 掘墓者；10. 新人。形象及设定与1913年首演的俄罗斯未来主义歌剧《战胜太阳》有关。本翻译为文件夹前言。
译自埃尔·李西茨基，《俄国1929：世界革命的建筑》，1965：116-118; 2021.
《小像》为俄罗斯先锋艺术家埃尔·李西茨基[EI Lissitzky]1920/21年在莫斯科创作的作品片段。文件夹内有图版共十张，分别名为：1. 舞台机械局部，作为首页；2. 报幕员；3.值岗者；4. 恐惧者；5. （时间）环球旅游者；6. 运动员；7. 策划者；8. 老者；9. 掘墓者；10. 新人。形象及设定与1913年首演的俄罗斯未来主义歌剧《战胜太阳》有关。本翻译为文件夹前言。
Full text click here
The Proun Room
translated from G1, edited by Werner Graeff and El Lissitzky and published by Hans Richter, Berlin, 1923.7; 2021
The Proun Room is a descriptive essay written by the Russian avant-garde artist EI Lissitzky for his exhibition room at the Great Berlin Art Exhibition, a design that creates Exhibition Room in the language of the Proun.
translated from G1, edited by Werner Graeff and El Lissitzky and published by Hans Richter, Berlin, 1923.7; 2021
The Proun Room is a descriptive essay written by the Russian avant-garde artist EI Lissitzky for his exhibition room at the Great Berlin Art Exhibition, a design that creates Exhibition Room in the language of the Proun.
Full text click here
Proun
translated from El Lissitsky. “PROUN”. DE STIJL 5, no.6, JuniI 1922: 81-85.
The Russian avant-garde artist El Lissitzky was one of the founders of Constructivism, whose style was heavily influenced by Suprematism. His series of experiments under the name of "Proun" can be understood as a continuation of Suprematism in three-dimensional space, i.e. "a transition from painting to architecture". The present translation is Lissitzky's programmatic note for "Proun".
《普朗恩》
译自埃尔·李西茨基，“PROUN”. 《风格》 5(6)，1922.6：81-85.
译自埃尔·李西茨基，“PROUN”. 《风格》 5(6)，1922.6：81-85.
俄罗斯先锋艺术家埃尔·李西茨基[EI Lissitzky]是构成主义的创始人之一，其风格深受至上主义影响。其以“普朗恩”为名的一系列实验创作可被理解为至上主义在三维空间的延续，即“从绘画到建筑的中转站”。本翻译是李西茨基为“普朗恩”撰写的纲领性说明。
Full text click here
A. and Pangeometry
translated from “K. und Pangeometrie” in EL Lissitzky, 1929 Rußland: Architektur für eine Weltrevolution, hrsg. v. Ulrich Conrads und Peter Neitzke, Berlin 1965: 122-129; 2017.
While working together in Vitebsk from 1919 onwards, Lissitsky was heavily influenced by Malevich. He was particularly insightful in seeing Suprematism as a spatial concept — and therefore reproducible — as a support for revolution. His brilliant theoretical essay "A. and Pangeometry" was first written in German, published in Europa-Almanach 1925, edited by Carl Einstein and Paul Westheim.
While working together in Vitebsk from 1919 onwards, Lissitsky was heavily influenced by Malevich. He was particularly insightful in seeing Suprematism as a spatial concept — and therefore reproducible — as a support for revolution. His brilliant theoretical essay "A. and Pangeometry" was first written in German, published in Europa-Almanach 1925, edited by Carl Einstein and Paul Westheim.
《艺术与泛几何》
译自埃尔·李西茨基，《俄国1929：世界革命的建筑》，1965：122-119; 2017.
1919年起在维特伯斯克（Vitebsk）共同工作期间，李西茨基[Lissitsky]深受马列维奇[Malevich]的影响。他尤有卓见地将至上主义视作一种空间图解——因而是可复制的——作为对革命的支撑。其精彩的理论文章《艺术与泛几何》最早为德语写作，收录在1925年卡尔·爱因斯坦[Carl Einstein]与保罗·韦斯特海姆[Paul Westheim]编辑出版的《欧罗巴年鉴》中。
Full text click here
Metamorphosis of Axonometry
translated from Yve-Alain Bois, Metamorphosis of Axonometry, in: Daidalos (1), Sep. 1981: 40-58; 2017
In this essay, Yves-Alain Bois traces the origins and development of axonometric drawings from visual, technological, and "ideological" perspectives, revealing a modern shift in its virtues from convenience and precision to perceptual ambiguity.
《轴测变形记》
译自：Yve-Alain Bois, Metamorphosis of Axonometry, in: Daidalos (1), Sep. 1981: 40-58; 2017
Full text click here
How One Should Photograph Sculpture
translated from Heinrich Wölfflin, ‘Wie man Skulpturen aufnehmen soll’, Zeitschrift für bildende Kunst, n. s. 7, 1896, 224-28；n. s. 8, 1897, 294-97; 2018
Despite the widespread use of photographs in art historical studies in the second half of the nineteenth century, art historians' attitudes toward photographic reproductions have been wavering. Proponents believed that the photograph was to art history what the microscope was to natural science, its true scientific foundation; opponents feared that the passivity of mechanical reproductions could lead to an intellectual degradation. Heinrich Wölfflin, the famous Swiss art historian, also took part in this discussion. He did not reject photography as a new form of contemplation in the development of mass culture, and even developed a natural-science-like method of working in art history on this basis. However, the arbitrariness of the photographs circulating on the market and the aesthetic degradation they implied were heavily criticized by him, as he illustrated in two successive articles in the Journal of Visual Arts (Zeitschrift für bildende Kunst) in 1896/97.
《如何拍摄雕塑》
译自Heinrich Wölfflin, ‘Wie man Skulpturen aufnehmen soll’, Zeitschrift für bildende Kunst, n. s. 7, 1896, 224-28；n. s. 8, 1897, 294-97; 2018
尽管十九世纪下半叶照片在艺术史研究中的使用已经十分普遍，艺术史家们对于摄影复制品的态度却一直摇摆不定。支持者认为照片对于艺术史就像显微镜对于自然科学一样，是其真正的科学基础；反对者却担心机械复制品的被动性会导致一种智力上的退化。瑞士著名艺术史家海因里希·沃尔夫林[Heinrich Wölfflin]也参与了这一讨论。作为大众文化发展浪潮中一种新的私密静观的方式，他并不拒绝摄影技术，甚至在此基础上发展了一种自然科学般的艺术史工作方法。但是市场流通照片的随意性以及其所暗示的审美堕落却遭到了他的猛烈批判。1896/97年间，他在《视觉艺术杂志》（ Zeitschrift für bildende Kunst）上连续发表了两篇文章来说明这一问题。
尽管十九世纪下半叶照片在艺术史研究中的使用已经十分普遍，艺术史家们对于摄影复制品的态度却一直摇摆不定。支持者认为照片对于艺术史就像显微镜对于自然科学一样，是其真正的科学基础；反对者却担心机械复制品的被动性会导致一种智力上的退化。瑞士著名艺术史家海因里希·沃尔夫林[Heinrich Wölfflin]也参与了这一讨论。作为大众文化发展浪潮中一种新的私密静观的方式，他并不拒绝摄影技术，甚至在此基础上发展了一种自然科学般的艺术史工作方法。但是市场流通照片的随意性以及其所暗示的审美堕落却遭到了他的猛烈批判。1896/97年间，他在《视觉艺术杂志》（ Zeitschrift für bildende Kunst）上连续发表了两篇文章来说明这一问题。
Full text click here
On Modern Art
译自Paul Klee. Über die moderne Kunst. Bern-Bümpliz: Verlag Benteli, 1945: 9-21; 2016
This article was written after Paul Klee's four years of teaching at the Bauhaus, and was originally the opening lecture for the exhibition of modern art at the Jena Museum in 1924, which also featured a number of Klee's own works. Out of a strong sense of self-consciousness about the dialogue between his words and paintings, the artist offers a profound self-analysis in the text.
《关于现代艺术》
译自Paul Klee. Über die moderne Kunst. Bern-Bümpliz: Verlag Benteli, 1945: 9-21; 2016
译自Paul Klee. Über die moderne Kunst. Bern-Bümpliz: Verlag Benteli, 1945: 9-21; 2016
本文写于艺术家保罗·克利[Paul Klee]在包豪斯 (Bauhaus) 四年的教学活动之后，原为其在耶拿 (Jena) 博物馆现代艺术展(1924)的开幕演讲，展览中也有不少克利自己的作品。出于对自身话语与画作之间对话的强烈自觉，艺术家在文中进行了深刻的自我剖析。
Full text click here & here