Medium and expression of self-empowerment

In point of fact without the magazine there would not have been a gallery, and no STORM women, at least not in the sense presented here: The first edition of “Der Sturm – Wochenschrift für Kultur und die Künste” was published under Herwarth Walden’s direction in 1910 and contained: plain but elegant typography, some explanatory notes, sometimes a bit more text but, most importantly: a large print, a copy of an artwork by artist friends or by artists reviewed in the issue in question. As was typical for the early art magazines it was both, or rather: everything, from the get-go. Literary and poetic texts by luminaries such as Arthur Rimbaud found a place here alongside prints of art works, critical exchanges, political statements leveled at the Imperial establishment and its plans for war, as well as also of course publicity for one’s own works. The medium provided an opportunity to establish loose networks long before this concept progressively emerged as the motto for not just for the digital Bohemians from Berlin to Zagreb, Vienna to Amsterdam.

From Amsterdam to Zagreb: Medium and expression of self-empowerment

It was only through the advancement of printing and the ensuing increased availability of books, written ideas and thoughts that public engagement with a phenomenon such as the fine arts was even possible in the first place. Over the course of its now almost 200-year history, the art magazine has exercised all manner of different functions, often simultaneously: It was medium and expression of artistic self-empowerment, offering independence from the market and institutions – at least notionally – that is today inconceivable in that form. It provided and created ideas, as well as being a platform for silliness of all kinds, for games and experiments, but also for revolutionary work. Just by looking at the titles of the different publications, the chameleon-like multi-faceted character of these art magazines becomes clear: At the time of the first issue of “Der Sturm”, energetic titles such as “Der Gegner”, meaning the adversary, or “Aktion” were being sold in Berlin, while in Zagreb the “Zenit” was being distributed, presenting, among others, works by Vjera Billers, and in the UK the scene read “Blast”.

Not a medium amongst many

Holding any arbitrary current publication in one’s hands today it is hard to imagine the revolutionary force this pile of paper once would have had. Not even because today’s art magazines must of course (and this is hardly condemnable) also be economically viable. But rather because their history cannot be thought in reverse: When magazine such as “Der Sturm” were first sold on a larger scale (sometimes in five-figure print runs), this medium was imperative in its character. It did not provide one alternative amongst many, but was the medium per se. For exchange, the gleaning of information, for the dissemination and discussion of ideas and contents on Dada, Futurism and Surrealism, art and literature, action and reflection, biting satire and counter projects to the restrictive spirit of the time, to name but a few. For this reason alone, the aspect of the quasi-compelling is very hard to attain today, even by publications, art books and printed manifestos that are more open in aesthetic and conceptual terms.