ISSUE Nº 10
To happen/To unhappen
Following Reality Check, an exploration of expectation, belief, and the fragmentation of reality into multiple, often conflicting perspectives, System of Situations takes the images from the previous issue as its starting point and throws them into a new set of circumstances. Through collage, these images collide with a myriad of everyday events, absurd situations, and ordinary observations, producing unexpected associations and deviations from their original meanings. This tenth issue is an experiment in progress. Its pages will be cooked over the coming week, allowing chance, interference, and improvisation to shape the final publication. For now, only the front and back covers are available. The complete issue will be released in print and available for purchase once the process is finished.
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$20 USD Buy in print
$2.99 USD Buy digital version
ISSUE Nº 9
To believe/To discredit
The ninth issue of THE-ICONOMIST, titled Reality-Check, explores the fragmentation of shared reality in an era of continuous image circulation. Moving from a relatively common visual culture toward a polyculture of personalized information, the issue reflects on how images no longer simply represent the world, but increasingly anticipate, organize, and condition our experience of it. Events arrive through different screens, at different times, producing overlapping yet often incompatible versions of the same reality. The issue unfolds as a provisional assembly of disconnected realities, where every image suggests another possible connection and every act of looking becomes a way of inhabiting the world.
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$2.99 USD Buy digital version
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.
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, 84 pp., brochure. Shipping worldwide.
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Buy digital version $5.99
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.
Read more: STAYNONSTOP
