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THE-ICONOMIST© is a Brazil-based post-digital artist magazine and an ongoing research platform dedicated to third-generation images. Founded in 2021, it operates at the intersection of artistic practice, publishing, and critical inquiry, examining how images are produced, circulated, and transformed within networked and algorithmic environments.

THE-ICONOMIST publications are included in collections such as the contemporary art library at the Beaux-Arts in Paris (France), the Schaulager/Laurenz Foundation (Switzerland), the contemporary collection at the m-AG — Museum of the Avant-Garde (Switzerland), and the photography library at the Moreira Salles Institute (Brazil), among others. In 2023, the magazine was featured in the exhibition The Intelligent Library at PhotoVogue, at Base Milano. In 2025, THE-ICONOMIST participated in Offprint Paris as an exhibitor.
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WhyWar?
Memoryscape
A Dress Grew Itself and Other Fragments➝
In the waiting room
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Memoryscape.mp4
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“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

“Leafing through the eighth issue of The Iconomist feels like plunging into a dense sea of images drawn from widely different origins and visual regimes. Appropriated, manipulated, distorted, corrupted, cropped, filtered and recombined, these images accumulate into a surface that is intentionally overwhelming, producing a visual field that feels both vertiginous and delirious.” — ELAINE RAMOS

Faceless Things (2005)
Kyung-mook Kim (b. 1985)

David Bordwell wrote:
Warnings about gay sadomasochism to the contrary, this doesn’t offer much you can’t see in Warhol or Waters. What it does provide is three shots. The first, nearly 45 minutes long, provides virtually a one-act play about a motel tryst between a businessman and his teenage lover. The second shot shifts us to an anonymous sexual encounter that is admittedly fairly off-putting, but handled with the mix of casual framing and off-kilter suspense we find in, again, Warhol. The very last shot is very brief and puts the other two into a new context.

Tony Rayns wrote:
Faceless Things shows two acts of gay sadomasochistic sex—one acted, the other not—with such bare-faced cheek that some viewers will be repelled. But this remarkable movie announces the 21-year-old Kim as a filmmaker in the Apichatpong league: an allusive poet whose direction of non-pro actors is as impressive as his grasp of the possibilities and limitations of cinematic form. The film consists of only three shots, the first (around 45 minutes) fiction, the second (around 20 minutes) documentary, and the third (very brief) something else. Exploring the space between cleanliness and “dirt,” this is the indie triumph of the year.

Director’s statement: Quote:

When I was a teen, sick and tired of this disgusting world, I began to meet strange men secretly. All these relationships are written in my journal, recorded by the camcorder, or between the traces of my memories. In the sight of candid shot, or in the pornography-like representation, I and they (in and out of the frame) were just like a funambulism on a single line struggling with out lives. Looking back now, I realize why I wrote and taped them. In their hidden faces that “the daytime-people” can never see, I saw myself sinking below ceaselessly.

Kyung-mook Kim is a filmmaker based in Seoul. His films—short, feature, and documentary—explore the uncertain lives of marginalized groups of people, such as homosexuals, transsexuals, sex workers, North Korean defectors, and others. Through his works, he attempts to reveal the ambiguity of boundaries lying between appearance/disappearance, visibility/invisibility, and presence/absence.

His films have been selected for and received awards in numerous international film festivals, such as the Venice Film Festival, the International Film Festival Rotterdam, the BFI London Film Festival and the Museum Of Modern Art. Recently, his works were the subject of retrospectives at the Indie Space (South Korea, 2016), Black Movie Film Festival (Switzerland, 2013), Taipei Film Festival (Taiwan, 2012) and Festival du Film Coréen à Paris (France, 2012).

Kyung-mook also worked as a journalist and a columnist for a number of publications since 2001. He served on the editorial board of Korea’s only independent film magazine, Independent Film, (2006-2007), and served also as a committee member of the Association of Korean Independent Film and Video (2011-2012).

ICON + AFFECTION + PROGRAM