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63. Značaj ljubljanskog časopisa Maska (1920/21) u kontekstu jugoslovenskih avangardiKristina Pranjić, 2021, original scientific article Abstract: The article is dedicated to the publications of Ljubomir Micić and Branko Ve Poljanski in Maska, the Ljubljana performing arts journal from 1920. While with his engagement in Maska Micić primarily wanted to present himself as a writer outside Zagreb (first, he published in Maska a review of the play Anfisa, and then his own play Istočni Greh was reviewed), Poljanski used his engagement in Maska for a polemic with Ljubljana critics, to later continue his critical response to Ljubljana’s artistic milieu in his journal Svetokret, as well as in Zenit. Moreover, one of Poljanski’s main motives for publishing an independent journal in Ljubljana was the continuation of the polemic he had started in Maska. Therefore, this article presents the assumption that for a complete genealogy of the beginnings of cooperation between Slovenian avantgarde and representatives of Yugoslav zenithism, it is necessary to take into account
Maska, although it was not considered a revolutionary or avant-garde journal. Yet, its aspiration to become international and its openness to different languages and polemics contributed to the exchange of opinions about art and criticism of the time, which was a fruitful ground for the development of relations between various representatives of the Yugoslav avant-garde and their independent actions.
Keywords: revija Maska, jugoslovanska avantgarda, Branko Ve Poljanski, Ljubomir Micić
Published in RUNG: 11.10.2021; Views: 2406; Downloads: 46
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64. The emergence and establishment of Yugoslav dada : from Prague to Zagreb (1920-1922)Kristina Pranjić, 2021, original scientific article Abstract: The article focuses on the transnational aspect of Yugoslav Dadaism, which was already an integral part of its founding stage in Prague in 1920, when the main Yugoslav Dadaist, Dragan Aleksić, was a student there. Through an analysis of the already known (but rare) primary and secondary sources and a presentation of some newly found primary sources, the article presents the cooperation between Yugoslav and Czech artists and clarifies the circumstances of establishing this Yugoslav avant-garde movement. Furthermore, because Aleksić’s work was closely connected to Ljubomir Micić’s Zenitism and the activity of Branko Ve Poljanski in Prague, we compare their journals(Zenit, Dada-Jok, Dada Tank, Dada Jazz) and emphasize the points of conflict and competitiveness
among them, which was a constructive part for the further development of Yugoslav Dadaism. Thus,the article contributes to both the local and international positioning of the Yugoslav Dada in the context of the Central European avant-garde.
Keywords: Jugoslovanski dadaizem, Dragan Aleksić, jugoslovanska avantgarda, zenitzem, Branko Ve Poljanski, Ljubomir Micić
Published in RUNG: 11.10.2021; Views: 2625; Downloads: 0
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70. Apstraktni dinamički ambijent Avgusta Černigoja i tršćanske konstruktivističke grupeKristina Pranjić, 2021, independent scientific component part or a chapter in a monograph Abstract: 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 trouvé; similarly, 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.
Keywords: Avgust Černigoj, slovenski konstruktivizem, Tržaški konstruktivistični ambient, revija Tank, El Lissitzky, Edvard Stepančič, instalacija v umetnosti, abstraktni ambient, zenitizem, dadaizem
Published in RUNG: 04.10.2021; Views: 2273; Downloads: 0
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