Avantgarde, utopije in oblačila

The author presents two instances in which quotidian overalls were in the early twentieth century transformed into projects with utopian potential: in Italy into tuta and in Russia into prozodezhda. The first was one-piece overalls that were warmly embraced by the Italian population after the First World War. They were a project associated with Futurism and utopianism. Before the war a somewhat similar project (the “anti-neutralist” clothes) was launched by Futurists Giacomo Balla and Fortunato Depero. Less than a decade after this early Futurist intervention in clothing, the tuta was created. Independently of the Italian tuta appeared its Russian equivalent, i.e. “production clothes” (prozodezhda). Earlier the overalls were used by mechanics and aviators. Around 1920 they became a symbol of the new post-October revolutionary society, wherein human relations and “post-art” creativity were intended to significantly diverge from traditional notions such as art, the artist, and the artwork. The Artist-Constructor, who was to be more of an engineer than an artist, was to replace the obsolete bourgeois artist and the bourgeois institution of art. In Bauhaus a Slovenian artist, Avgust Černigoj, was fascinated by the overalls worn by Moholy-Nagy, and wore them upon his return to Ljubljana to the consternation of the local populace. In the 1980s this fashion was followed by another artist, namely Dragan Živadinov.Avtor predstavi dva primera, ko je bil v zgodnjem dvajsetem stoletju kombinezon preoblikovan v projekt z utopijskim potencialom. V Italiji je bil tak primer tuta, v Rusiji pa prozodezhda. V prvem primeru je šlo za enodelni kombinezon, ki je postal po prvi svetovni vojni zelo priljubljeno oblačilo. To je bil projekt, ki je asociiral na futurizem in utopizem. Pred vojno sta nekoliko podoben projekt (anti-nevtralna oblačila) razvila Giacomo Balla in Fortunato Depero. Manj kot desetletje po tej futuristični intervenciji v oblačenju je nastala tuta. Neodvisno od italijanskega oblačila je nastal njen ruski ekvivalent, t.i. »proizvodna oblačila« (prozodezhda). Pred tem so kombinezon nosili mehaniki in letalci. Okrog leta 1920 je kombinezon postal simbol nove postoktobrske revolucionarne družbe, v kateri naj bi človeški odnosi in »postartistična« ustvarjalnost bistveno odstopali od tradicionalnih pojmov, kot so umetnost, umetnik in umetnina. Umetnik-konstruktor, ki naj bi bil bolj inženir kot pa umetnik, naj bi zamenjal zastarelega buržoaznega umetnika in buržoazno institucijo umetnosti. V Bauhausu je slovenskega umetnika Avgusta Černigoja fasciniral kombinezon, ki ga je nosil Moholy-Nagy. Po vrnitvi v Ljubljano ga je nosil tudi sam ter vzbujal osuplost med lokalnim prebivalstvom. V osemdesetih letih dvajsetega stoletja je tej modi sledil še drug slovenski umetnik, namreč Dragan Živadinov