Balázs Eszter: Art in action. Lajos Kassák's Avant-Garde Journals from A Tett to Dokumentum, 1915-1927 - The avant-garde and its journals 3. (Budapest, 2017)

Hubert van den Berg: Lajos Kassák, the Viennese Edition of MA and the “International” of Avant-Garde Journals in the 1920s

and MA are mentioned occasionally, but both have a rather marginal, peripheral status.

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Antwerpen :

(Berckelaers-Peeters) ” Het Overzicht „ (Jozef Muls) " Vlaamsche Arbeid „

Amsterdam :

(Wijdeveld) " Wendingen (Groenevelt) ” Het Getij „

Berlijn :

(Walden) " Der Sturm

(v. Wedderkop) " Der Querschnitt „

Brazilié :

(Serge Milliet) " Klaxon „

Brussel :

(Bourgeois, enz.) ” 7 Arts „ (Verwilghen) ” La Cite „ (Hellens) ” Le DisqueVert „

Lyon :

(Malespine) " Manométre „

New-York :

(Andersen) ” The Little Review ,, (Thomas Mann) ” The Dial „

Parijs :

(Beauduin) ” La Vie des Lettres .. (Ozenfaut-Jeanneret) " L‘Esprit

[Nouveau „

Polen :

(Haddie Peiper) " Zwrotnica „

Rome :

(Prampolini) " Noi ,,

(Bragaglia) ” Cronache d’Attualita „

Weenen :

(Lajos Kassak) ” Ma „

[2.] Het Netwerk [The Network], Het Overzicht, 2/20., 1924,136., Antwerpen

There can be little doubt that the composition and line-up of the most relevant journals according to Seuphor had a strong subjective element: Seuphor came from Antwerp, from the Low Countries, and lived since the mid-1920s in Paris. Yet, his panorama also represented a common perspective on the avant-garde in the first decades after the Second World War, in the hottest period of the Cold War. In this period, the East-West divide by the “Iron Curtain” had an enormous impact on the narrative of the “historical avant-garde” as “avant-garde”. In fact, only in the 1940s and 1950s and on a larger scale in the 1960s and 1970s, it became common practice to refer to the “isms" in pursuit of “new art” in the period before the Second World War as “avant-garde”, meanwhile “historical avant-garde”,8 following an understanding of “avant-garde” stemming from the late 1930s, formulated - among others - by the influential American critic Clement Greenberg in his essay Avant- Garde and Kitsch in the Partisan Review in 1939.

8 Paul Wood (ed.), The Challenge of the Avant-Garde, Yale UP-Open University, New Haven- London, 1999,10-11.

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