形式”（包括“形式主义”）在今天似乎是一个不合时宜，甚至是一个很不当代的话题。然而，百年前，正是形式，横跨绘画、摄影、电影、戏剧、表演、建筑、设计等各种媒介，激起了一场持续近半个世纪的整体性的艺术革命和社会运动。

如果从印象派开始算起，到未来派、立体派、构成派、风格派，到蒙太奇、包豪斯，乃至抽象表现主义以及相应的形式主义理论，毫无疑问，它是20世纪最为激进和前卫的艺术运动之一。这里的形式不是静止的，而是运动的，不是封闭的，而是开放的。它不仅是宣言，也是一种精神，一种政治，甚至是一种信仰。这固然取决于它特殊的历史条件，但其所固有的普遍性意志和革新的能量，也促使我们有必要对其予以新的思考和探讨。何况，今天我们仿佛又身处一个类似百年前的历史关头。

2019年11月，剩余空间举办了群展“街角、广场与蒙太奇”。展览以创刊于1976年的《十月》（OCTOBER）杂志作为叙述的起点，将兴起于60年代的新前卫与半个世纪前的先锋派——革命政治连接了起来，并作为反思的视角，直指当前的艺术、文化与政治。围绕此次展览，我们先后于展览前后举办了题为“狂热程式：20世纪以来的非理性思潮、艺术与政治”“60年代的兴起、衰退与‘重返’”两次主题论坛。是次展览“形式的‘密谋’”，将继续之前的讨论，将目光聚焦在“形式”，重探附着在其表面的驱动力和意志力。适逢“重返包豪斯丛书”出版之际，我们将围绕构成主义、包豪斯及现代主义与社会运动的关系等相关问题展开一次跨领域的对话。目的不仅是通过追溯历史，为当下提供些许行动的能量，同时也希望借此当代的实践，对历史本身有一个新的体认。

“Form” (including “formalism”) seems to be an out-of-date, even a very uncontemporary topic today. However, a hundred years ago, it was form in media like painting, photography, film, drama, performance, architecture and design that sparked a holistic art revolution and social movement that lasted nearly half a century.

If we count from Impressionism to Futurism, Cubism, Constructivism, De Stijl, to Montage, Bauhaus, and even Abstract Expressionism and the corresponding formalism theories, there is no doubt that it is one of the most radical and avant-garde art movements in the 20th century. The form here is not static, but moving, not closed, but open. It is not only a declaration, but also a spirit, a politics, and even a belief. It depends, of course, on its particular historical conditions, but its inherent universal will and innovative energy also prompt us to give new thinking and discussion on it. Moreover, today we seem to be at a historical juncture similar to that of a hundred years ago.

In November 2019, the Surplus Space held a group exhibition Street corner, Square and Montage. With the journal OCTOBER, which was first published in 1976, as the starting point of its narrative, the exhibition connected the new avant-garde that emerged in the 1960s with the avant-garde revolutionary politics half a century ago, and served as a reflection on current art, culture and politics. We held two theme forums before and after the exhibition, entitled Fanatic Formula: Irrational thought, art and politics since the 20th century and The Rise, Decline and “Return” of the 1960s. The El Lisstzky’s Rooms exhibition will continue the previous discussion, focusing on “form” and re-exploring the driving force and will power attached to it. On the occasion of the publication of the “Bauhaus Revisited” series, we will also engage in an interdisciplinary dialogue on issues related to Constructivism, Bauhaus and the relationship between modernism and social movements. The purpose is not only to provide the present with some energy for action by tracing the past, but also to gain a new understanding of history itself through contemporary practice.