At the end of the 1920s the International Review i10 was published in the Netherlands. This avant-garde magazine was characterized by the search for radical innovation in art and society. The editors of i10 created an international platform where several European avant-garde movements could exchange their ideas. How did this avant-garde platform realize the transnational ambitions of the editors? And what kind of ideas on Europe can be identified in i10 in the context of a more general discourse on moder-nity? This article focuses on the extent to which i10 realized these transnational ambitions to provide an innovative platform of the European avant-garde.
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The following exchange, over email, between Dutch media theorist and Internet critic Geert Lovink and Aaron Moulton occurred on the occasion of the exhibition The Influencing Machine at Galeria Nicodim in Bucharest, which closed on April 20, 2019. The show, curated by Aaron Moulton, was an anthropological investigation into the macroview of the Soros Center for Contemporary Art (SCCA), an unprecedented network of art centers that existed across twenty Eastern European capitals throughout the 1990s. A survey of historical and contemporary artwork that explored ideas of influence, revolution, colonialism, and cultural exorcism, the Bucharest exhibition included a large archive covering the SCCA network that allowed first-time research into the institutionalized strategies of curatorial practice in the early years of the SCCA network, trajectories of influence that lead to specific kinds of cultural production.
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