Apstraktni dinamički ambijent Avgusta Černigoja i tršćanske konstruktivističke grupe

The article presents the Trieste Constructivist Cabinet (1927) by Slovenian avant-gardist Avgust Černigoj and his Constructivist group, as one of the significant events in the context of abstract artistic ambient of historical avant-garde. El Lissitzky’s Proun is pointed out as the greatest influence on this artwork, while at the same time presenting the thesis of its original contribution, in the sense of dynamization of the cabinet using Stepančič’s levitation constructions. The kinetic potential of these hanging constructions draws the visitor into a two-way communication, a permanent feedback loop. It is this continuum, the duration i.e. process nature that such an installation allowed, i.e. produces, that is placed in the forefront, alongside space and motion. In addition to this pinnacle of Slovenian avant-garde being placed in the context of European historical avant-garde, the work of the Slovenian constructivists is also contextualized within the framework of the Yugoslav avant-garde movements. Special attention is paid to the Tank magazine (1927), which started being published in Ljubljana after the ban on the publication of Zenit in 1926, in an attempt to maintain continuity in the publication of Yugoslav avant-garde periodicals. It is a known fact that Černigoj’s avant-garde art was based on constructivist principles, while the article also points out his concurrent use of subversive Dadaist principles: the process of destruction of old meanings using methods of isolation and relocation of artistic material, in the sense of ready made or objet trouvésimilarly, desemantization is carried out in the linguistic material (“g”, “jublj”)use of mass produced materials (fragments of slogans that the artist transposes into artistic rhetoric)the performative nature of the entire event / exhibition. Also presented are the close ties between Slovenian constructivism and Micić’s Zenitism and Dragan Aleksić’s Dadaism, as well as the shift in the sense of forming an original program and establishing an own avant-garde formation, whose most important and most representative work is precisely the Trieste Constructivist Cabinet, which represents a characteristic synthesis of the Yugoslav and the European avant-garde tendencies at the time