Editorial #10

/ Els Roelandt

© Ana Torfs, Ecran IV (2003)

Non-commercial magazines on contemporary art are a particular phenomenon. Often their existence is short-lived and most art magazines do not get as far as their tenth issue. On top of that their distribution is done badly, their visibility is close to zero and their content is often undefined and hardly consistent.
Naturally this does not mean that these non-commercial art magazines aren’t interesting. The non-determinate attitude of these magazines towards the art establishment, the lack of financial means and the amateurism (literally “for the love of it all”), often turn out as a breeding ground for permanent creativity and ingenuity.

Artists were often at the cradle of such art magazines, like Theo van Doesburg who set up the world-renowned and highly influential magazine “De Stijl” or Aubrey Beardsley, co-founder of “The Studio” or even, to name a more recent example, Maurizio Cattelan, founder of the lively but right now hardly known magazine “Charley”.…