Проун 88

1921–1925

In Berlin: Schwitters, Moholy-Nagy, van Doesburg

In Berlin Lissitzky meets and befriends Kurt Schwitters, László Moholy-Nagy and Theo van Doesburg. Together with Schwitters and van Doesburg he presents the idea of an international artistic movement under the guidelines of constructivism, and works with Schwitters on the issue “Nasci” (“Nature”) of the periodical Merz; he also joins the Dutch group De Stijl.

1923

The Proun Room at the Great Berlin Art Exhibition

In 1923, for the Great Berlin Art Exhibition, Lissitzky transforms a small room (about 3 by 3 by 2.5 m) into a single work of art, the Proun Room, which lets viewers “walk into an image” and become active participants. He violates the unwritten rule of rejecting the commercialization of art by putting price tags on three elements of the room; the price tags, together with his “half-dance” during the demonstration of the room, alienate his friend Theo van Doesburg.

1923–1924

Tuberculosis and a Swiss hospital

In 1923–1924 Lissitzky is severely ill with tuberculosis and stays in a Swiss hospital; at this time he is reported even to have considered suicide. He will die of tuberculosis in 1941.

1925

Return to the USSR

Lissitzky's years in Germany and Switzerland run from 1921 to 1925; it appears that in 1925 he returns to the Soviet Union.

1927

The All-Union Polygraphic Exhibition in Moscow

In 1927 the All-Union Typographic (Polygraphic) Exhibition takes place in Moscow under Lissitzky's direction and to his design; one of its aims is to show the paths humanity has travelled in conveying thought by means of symbolic and graphic signs. He develops new principles of exhibition display, treating an exhibition as a whole organism.

1927

Marriage to Sophie Küppers

In 1927 Lissitzky marries Sophie Küppers, the widow of Paul Küppers of the Kestnergesellschaft. Sophie, born Schneider, is a gallery owner and art historian; her first marriage was to the art historian Paul Erich Küppers.