EL Lissitzky e o espectador da revolução

This article analyses the theory and praxis of the spectator developed by the Soviet artist El Lissitzky following the October Revolution. We will examine how his work is based on a tension between activity and activation and between emancipation and mobilization. A tension that disappears when his exhibition
techniques are appropriated by fascism and by capitalism and the emancipation is canceled or reduced to mobilization. As we observe this process from our
late-capitalist contemporaneity, we will defend the need to look once again to the spectator of the revolution and to the experiences of oscillation and groping that constitute him as an “ek-static” spectator. A spectator that invites us to get
involved in a heterogeneous praxis of being-in-common.