Nº7 — BIG DATA. The new issue of THE-ICONOMIST is structured around three verbs: to track, to store, to capitalize. They do not appear as themes or narrative devices, but as discrete operations — technical procedures that have become naturalized, embedded in daily life and in the forms of attention, language, and memory. Text and image share a common surface, contaminated by the lexicon of interfaces, the rhythm of notifications, and the aesthetics of repetition. Instead of chapters, there are fragments: instructions, automated speech, interrupted narratives, visual commands, and snippets of code. The result is an editorial body that behaves like an environment, not a narrative. In opening text, language approximates the flow of a continuous timeline, where every gesture — getting out of bed, opening an app, looking into the mirror — is already processed data. Typography multiplies, margins fail, images do not explain. System icons, graphic overlays, and fragmented structures compose a visuality that simulates a machine in operation — or in malfunction. The edition does not close around a thesis, but organizes itself as an unstable field of reading. The logic of the three verbs remains active in the act of turning pages: as we browse, we track; as we return, we store; as we interpret, we participate in a broader circuit of symbolic conversion. This edition is the third part of the IMAGE-BANK volume started in 2024, inspired by the words of curator Scott Watson in 1977: “we are all image banks, we all live in an image bank, we carry an image bank and we have the power to intervene in that image bank.
[52 pages, 21x28cm, saddle-stitch binding, with shipping worldwide]
rEDLines is a virtual automated writing installation that subverts the logic of the journalistic headlines to reveal their flaws, excesses, and poetic deviations. Hosted on THE-ICONOMIST, the work operates as a language machine, firing off fragments of text that recombine incessantly, creating impossible headlines, news from a fictional or distorted world, echoes of a collapsing reality. Playing with the double meaning of the term, redlines also refers to corrections, censorship, or limits drawn in red, the installation proposes a space of tension between language, truth, and fiction. Each phrase that appears on the screen carries the weight of a possible headline, but also the lightness of error, chance, and productive failure.
Nº 6 — To consume/To waste. The ICONOMIST Issue 6 presents itself as a visual and textual essay examining the scars of a society sickened by late capitalism. Inspired by the seminal texts Junkspace by Rem Koolhaas and Infraordinary by Georges Perec, this edition not only observes but dissects neglected spaces, accumulated waste, and the traces of a world collapsing under the weight of its own excesses. Through a curated selection of images oscillating between the documentary and the interpretative, readers are led through scenarios ranging from the dazzling and hyper-artificial universe of fast food, or “junk food,” to landfills and waste dumps, where the shine of consumption is replaced by neglect. Abandoned commercial spaces and vacant lots emerge as silent symbols of the failure of an infinite progress promise. The pages also portray human vulnerability: houses destroyed by natural disasters, waste pickers scavenging for what remains, and devastated landscapes that denounce systemic indifference to the environment and marginalized populations. Among the selected texts, authors such as Anna Lowenhaupt Tsing, Jean-Paul Fargier, Stanley Brouwn, Byung-Chul Han, Walter de Maria, Siri Hustvedt and others, help build the conceptual framework of this edition. In the interplay of combinations proposed by the edition, the concept of “still life” is subverted. Here, it is not about representing the silent order of inanimate objects but revealing urban chaos and the desacralization of the everyday. It is a still life that lives—and decays—in territories contaminated by ambition, inequality, and neglect. This edition is a call to see what is invisible or too uncomfortable to be noticed. It is a portrait not only of a world in decline but of a civilization that insists on ignoring the signs of collapse while indulging in excess—even of images.
48 pages, 21x28cm, saddle-stitch binding, with shipping worldwide
[58 pages, 21x28cm, saddle-stitch binding, with shipping worldwide. Published by zero-Editions]
Nº 5. Inaugurating its new volume of publications, THE-ICONOMIST presents an unusual thematic dossier built around the verbs “to watch” and “to speculate”. Inspired by excerpts from Michel Foucault’s book “Discipline and Punish: The Birth of The Prison” and William Shakespeare’s poem “All The World’s A Stage”, we explore the complex issues of surveillance in the digital age and the role of security cameras in contemporary society. Instead of creating images generated by artificial intelligence, we decided to delve into the vast banks of digital images available on servers around the world. This method seeks to give new meaning to an often forgotten arsenal of imagery, visually composing this issue with authentic and historically charged material. Through this volume, we address crucial themes such as privacy and power, violence and social behavior, technology and ethics. In addition, we have enriched our analysis with selected texts by renowned authors such as Octavia Butler, Don DeLillo, Jean Baudrillard, Thomas Elsaesser, Anne Carson, Guy Debord, Marshall McLuhan and Barbara Kruger, among others.
Buy in print $20 USD
Memoryscape, a speculative tale by THE-ICONOMIST, is a plunge into the collapse between memory and technology. A narrator drifts through feeds, notifications, algorithms, and system glitches in search of himself, but finds only echoes, noise, and screenshots of a life mediated by devices. Between buffered dreams, captcha identities, and emotions translated into data, the book unfolds a landscape where memory no longer belongs to the body but to invisible servers. Each forgotten image returns as a symptom, each notification as a shadow, each silence as a corrupted file. To escape one’s own memory becomes, then, an attempt to be reborn outside the records—an ultimate way of continuing to exist. Coming soon October 2025.
[145 pages, 11x18cm, brochure, with shipping worldwide]
[88 pages, 19x19cm, wire-o binding, with shipping worldwide]
They say that the face is the mirror of the soul. They say that images generated by artificial intelligence have no soul, they are like mirages. MIRROR:MIRAGES presents forty-three mysterious artificially generated faces accompanied by excerpts from the short story “The Mirror”, written by Guimarães Rosa, one of the greatest authors of Brazilian literature. In this short story, Rosa explores the relationship between the reflected image and the true essence of the individual, between the visible exterior and the hidden interior. Her narrative invites us to reflect on the human soul, identity and self-perception at a time when technology is constantly redefining these concepts. These faces, although without a soul of their own, evoke a range of emotions and reflections, provoking us to look beyond superficiality.
138 pages, 19×19 cm, softcover and perfect-bound. Shipping worldwide.
STAYNONSTOP is a photobook consisting of a selection of 130 images generated by artificial intelligence. The images are accompanied by fragments of artists’ texts from different sources. The name of the book comes from a reflection on how addictive these image production processes through artificial intelligence can be, like everything these days. By placing these images in confrontation with the text fragments, we try to force new readings and the creation of new contexts different from the ones used to generate the images.
buy in print buy digital
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.
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. The film Concrete Lache (2010), which Mark Leckey created about the Milton Keynes Gallery, will be on view in our website in the STREAMING section, which will be updated weekly with new videos and films.
44 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.
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.
F is for FRAGILITY proposes a reflection on the instability of digital memory, the limits of technological preservation and the aesthetic potential of error. Rather than restoring, the project chooses to highlight failure as a form, welcoming impermanence and fragility as an inherent part of the digital creation and archiving process. In December 2024, one of our hard drives containing thousands of reference images and project files was damaged, but the recovery process gave us the images we present in this zine. When data is corrupted, the image also takes on a new life. They have lost their original functions, their sharpness, and often any possibility of literal reading. What remains are fragments, noises, spectra. Closer to the idea of a ruin than a document, these images now operate as traces of something that can no longer be reconstructed, only reinvented.
XXXSpace shares with Thomas Pynchon’s novel the intuition that military technology is never limited to its military function. In the universe of the book, the V-2 missile is both an object of mathematical precision and an erotic and mystical fetish, an “arc” that crosses the sky as a symbol of desire and death. The zine revisits this same imagery, bringing to light the clash between clinical detail—ranges, speeds, diagrams—and the symbolic weight of a world obsessed with the spectacle of destruction. Just as Pynchon transforms the missile into a metaphor for cultural collapse, XXXSpace confronts the contemporary saturation of explosive and phallic images, shifting the gaze to the tension between pornography, space conquest, and war. If the 1973 novel recorded the transition to the nuclear age, the zine collects fragments of the present as testimony to another historical threshold: the moment when technical violence becomes naturalized on the screen, and the missile ceases to be just a weapon to become language, spectacle, and a promise of transcendence.
13x20cm, 60 pages, brochure. Shipping worldwide.
Buy in print $15
Buy digital version $5.99
F IS FOR FRAGILITY (OF DIGITAL IMAGES). When data is corrupted, the image also takes on a new life. They have lost their original functions, their sharpness, and often any possibility of literal reading. What remains are fragments, noises, spectra. In December 2024, one of our hard drives containing thousands of reference images and project files was damaged, but the recovery process gave us the images we present in this zine. Closer to the idea of a ruin than a document, these images now operate as traces of something that can no longer be reconstructed, only reinvented. F is for FRAGILITY proposes a reflection on the instability of digital memory, the limits of technological preservation and the aesthetic potential of error. Rather than restoring, the project chooses to highlight failure as a form, welcoming impermanence and fragility as an inherent part of the digital creation and archiving process.
13x20cm, 60 pages, brochure. Shipping worldwide.
Buy in print $15
Buy digital version $5.99
ACCIDENT & EMERGENCY_This zine presents a visual essay on the aesthetics of ruin and the relentless force of collapse, bringing together appropriated images of crashes, fires, and rollovers—where twisted metal and flames dance in the wake of destruction. Amid charred wreckage and distorted forms, a landscape of chaos and beauty emerges, a vestige of the moment when everything fell apart.
13x20cm, 48 pages, saddle stitched binding. Shipping worldwide.
Buy in print $15
Buy digital version $1.99
EYES OF NEPTUNE_This zine explores the iconography of the god of the seas, Neptune/Poseidon, in his duality between creation and destruction. Lord of the waters, storms and earthquakes, Neptune rules the uncontrollable flow of nature, symbolizing both the abundance of the oceans and their devastating wrath. Between tides, floods and changes, this zine investigates the mythological force that shapes lands, myths and destiny.
13x20cm, 48 pages, saddle stitched binding. Shipping worldwide.
$15 USD Buy in print
“XXXSPACE” [2025]
A film by THE-ICONOMIST
20m25s, color, sound
XXXSpace is an essay film that emerges from the sensory and symbolic collapse of our time. Set in a dystopian—yet real—context where three simultaneous wars shape the global imaginary, the film presents an iconographic collection of images gathered since 2022, when Russia’s invasion of Ukraine began. Since then, missiles, explosions, and ballistic diagrams have become part of the global visual landscape, composing a new grammar of war spectacle. The title, XXXSpace, alludes both to the world of pornography and to the aerospace ambitions of lunatic billionaires, colliding the phallic imaginary of war with that of space conquest. The images are accompanied by a technical, almost clinical voiceover that obsessively details the functioning of each missile, rocket, and propulsion system—their ranges, weights, and velocities. This neutral, impersonal narration stands in stark contrast to the explicit violence of the images, making the banalization of weaponry as visual spectacle even more disturbing. [watch]
https://the-iconomist.net/v/input/1/pages/page11.png
“Taking its name from economist Gilson Schwartz’s 2006 neologism ‘Iconomy’ while also nodding to longstanding news weekly The Economist, THE-ICONOMIST questions our relationship with images in this era of image saturation with each issue using verbs as its themes.”
— MAGCULTURE.com
“THE-ICONOMIST’s latest issue is hectic and “suffocating” in its use of online image banks. The magazine has never really operated within the requirements of a conventional magazine. This isn’t just because the issues don’t have any advertisements or an ISBN number, or even that it doesn’t have a website that can be indexed by Google. The magazine defies a traditional editorial approach at every turn.After its first four issues’ focus on AI-generated visuals, the magazine has returned with its fifth edition — a printed exploration of surveillance in the digital age.”
— ELLIS TREE, It’s Nice That