The article deals with the object, nature and artistic forms of Ukrainian avant-gardism of the first third of the twentieth century which are highlighted on the basis of energy-informative aesthetics' ideas analysis. This determines the specific theoretical and methodological basis of this article, therefore, hermeneutic method as well as the semiotic analysis when considering works by world-known Ukrainian avant-garde artists are important methods of our research work. We worked out a hypothesis about the connection of energy-information searches for avant-garde aesthetics with the spiritual practices of isychasm in art. In addition, we sought to identify or deny its "ideological bridges" with the traditions of national iconography, symbolism, as well as with the ideological ideas and values of modernity. In the research work energy-information ideas as motives in the works by K. Malevich, O. Bogomazov, V. Yermylov, V. Tatlin and other Ukrainian avant-gardists are outlined. The enioesthetics of avant-garde follow from its insights into the transcendental sphere of sacred, "karmic", energy-information interactions. It is related to the discovery of the connection between the macrocosm and the microcosm, entire noosphere universalism and each individual human "monad", cumulative information impact of their synergy. The outlook of the Ukrainian pictorial avant-garde, with its tendency to complex symbolism, humanism, etc., is highlighted in the article. It is also found out that in their experience, information potentials of artistic imagery are at the forefront, and they are manifested through a specific artistic discourse, an updated sign language. "Energeia" of expressive form is crucial in their creations; it constitutes not only "sineme" of image-sign but also its "phoneme" audio or visual semiotics. In other words, it is perceived as a kind of "energy-information sound" of the work and as an incentive for the viewer to take some action. We come to the conclusion about the importance of the energy-information approach for understanding not only the ideological motives of the "historical" avant-garde of the beginning of the last century, but also the modern post- and trans-avant-garde in art.It is pointed out that such analysis of avant-gardism seems valuable for a better understanding of the origins of the changes that are taking place now in artistic practices in particular, and in the symbolic production and exchange of society in general.