Светлинните фрески на модернизма. Развитието на фотограмата между двете световни войни
THE LIGHT FRESCOES OF MODERNISM. DEVELOPMENT OF PHOTOGRAM IN THE INTERWAR PERIOD

Summary/Abstract: The article focuses on the interwar history of photogram in the works of Christian Schad, Man Ray and László Moholy-Nagy and argues that this easy-to-master technique gradually unfolds the modernist idea of freedom in art. Their work is explored in the historical context of Dada and Surrealism, and the comparative analysis emphasises the differences in their ideas and approaches. The photograms of the three authors are treated as reflections of three successive stages in which the representation is freed from reality. In the schadographs, objects are detached from their self-dependence, context and purpose; in the rayographs, they change their proportions, silhouettes and symbolic value, and in the prints of Moholy-Nagy, they lose their connection with their material form and get closer to the world of ideas. The article argues that the abstraction in the Bauhaus artist's photograms represents the modernist ideal in its highest form, coupled with striving for superhuman understanding: photogram is the key to understanding photography and its nature as cameraless light painting. Furthermore, it interprets the way Moholy-Nagy uses the technique to create a space ruled solely by the laws of light. The text summarizes the steps by which photogram freed photography from reality, using its problematic representative value to raise fundamental questions about the nature of the media.

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