THE ICONOMIST (2022-present)
21x28cm, 48p, publicada por zero-Edições.

Tomando seu nome do neologismo “iconomy” do economista Gilson Schwartz, de 2006, e ao mesmo tempo fazendo referência ao antigo semanário de notícias The Economist, THE-ICONOMIST questiona nossa relação com as imagens nesta era de saturação de imagens, com cada edição usando verbos como tema.

Taking its name from economist Gilson Schwartz’s 2006 neologism “iconomy”, and at the same time referring to the old news weekly The Economist, THE-ICONOMIST questions our relationship with images in this age of image saturation, with each issue using verbs as its theme.

Nº 4 — To ask/To Answer/To refuse. Introducing THE ICONOMIST’s latest thematic dossier. For the edition that closes the first of four editions of the magazine, we embarked on the world of interviews and questionnaires. What is a photograph? What is photography? What is an image? In addition to these questions, we also took inspiration from Proust’s questionnaire and JG Ballard’s short story “Answers to a Questionnaire”, a list made up only of answers to unknown questions. In addition, we also present selected texts by Lucas Samaras and his 1978 Auto-Interview, Marlene Dumas, Thomas Hirschhorn and others.

48 pages, 21x28cm, saddle-stitch binding, with shipping worldwide.

Nº2 — To wear. THE ICONOMIST’s new thematic dossier is out. At first glance, a fashion magazine, or something other than a style magazine, with models and their looks made of improbable mixtures, speculations around accumulation and consumption. How to wear images? How to wear what’s left of an exhausted world? Artificial armor, mountains of plastic and synthetic fabric. It is impossible to dive, it is impossible to find anything. Use what you have, that’s it. After collecting, it’s time to wear. To assemble a body of materials. To turn the material into an extension of the body and to rely on a possibility of protection. Change everything at any moment. It may look like a fashion magazine, but it is a survival manual. The issue also includes selected excerpts by authors such as Judith Butler, Emanuelle Coccia, and Georges Bataille as well as collages of text made from reviews of fashion shows and news. A process of rethinking the verb to wear in a world in the process of depletion, in terms of image and environment.

48 pages, 21x28cm, saddle-stitch binding, with shipping worldwide.

Nº 3 — To catalogue. Introducing THE ICONOMIST’s latest thematic dossier. This edition takes inspiration from art magazines and catalogues to curate a collection of images that provoke and question our relationship with artwork documentation in the age of artificial intelligence. All the clichés of the art world are represented, the artist’s studio, the the gallery, the white walls, the compositions, the descriptions. We are excited to present a selection of proposals of artworks that are now part of the #theiconomist collection, with complete descriptions and speculations on their materiality. As a complement to this visual content, we have also included selected (and inspiring) texts from authors such as Boris Groys, Hito Steyerl, Georges Didi-Huberman, Man Ray, and more.

44 pages, 21x28cm, saddle-stitch binding, with shipping worldwide.

Nº1 — To collect. We are happy to present the first thematic dossier of THE ICONOMIST. We explore the world of collecting and the people who do it. We look at the phenomenon of collecting from a variety of perspectives. All images in the issue were generated through artificial intelligence, as well as some texts, interviews, and short stories. The issue also includes selected texts by Susan Sontag, Emmanuel Levinas and Sergei Eisenstein. What are the limits of a collection? From garbage collectors to art collectors, from compulsive hoarders to collectors of weapons of mass destruction, the accumulators of power. The informal collectors, the professional collectors.

48 pages, 21x28cm, saddle-stitch binding, with shipping worldwide.