Abstract
From January 1927 until July 1929 the international review magazine i 10 functioned as a pluriform platform for the European avant-garde. Using three themes related to fine arts, photography, design and architecture, it is possible to identify the framing of ‘objectivity’ as a manifestation of a wider modernity discourse. The three themes are: the introduction of the aesthetic term Neue Sachlichkeit (New Objectivity), the role of the new medium of photography, and the functional approach of Dutch design and architecture. The widely supported subscriptions to the constructivist and functional approaches lead to other questions than had been hitherto circulating within the historical avant-garde. The conclusion is that at the end of the 1920s this breadth of thinking within i 10 over “new objectivity” represented a change in the modernity discourse of the European avant-garde.
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