The weekend cover: L’Espresso, The Economist, Der Spiegel (February 1 to April 19, 2020)

In addition to the ongoing series of cover pages from the French daily Libération (to be found here): three more sequences of Corona related cover designs, this time from the weekend editions of the weekly magazines L’Espresso (Rome), The Economist (London et al), and Der Spiegel (Hamburg). Every single cover has been created by individuals and teams, but it would need a more in-depth research to identify all the illustrators, photographers, and art directors who have contributed to this impressive array of takes on the crisis (this info ought to be supplemented later). Further below you can also find thumbnail surveys of the cover designs of the three magazines. The choices of headlines and visuals reflect the editorial and national context of each magazine. Whereas The Economist emphasizes the global impact of the pandemic and its economic repercussions, L’Espresso favors images alluding to the healthcare environment and the social dimension of the crisis in Italy. Der Spiegel displays a rather heterogenous approach, ranging from anxious questioning (“How do we get out of this?”, March 28) to optimistic foretelling (“The Corona shock bears the chance of a better world,” April 18). TH

 

April 19, 2020

  

April 18-24, 2020

 

April 18, 2020

 

April 12, 2020

 

April 11-17, 2020

 

April 11, 2020

 

April 5, 2020

 

April 4-10, 2020

 

April 4, 2020

 

March 29, 2020

 

March 28-April 3, 2020

 

March 28-April 3, 2020

 

March 28, 2020

 

March 22, 2020

 

March 21-27, 2020

 

March 21, 2020

 

March 15, 2020

 

March 12-20, 2020

 

March 14, 2020

 

March 8, 2020

 

March 7-11, 2020

 

March 1, 2020

 

February 29-March 3, 2020

 

February 29, 2020

 

February 1-7, 2020

April 20th, 2020, 02 / Rosa Mercedes
Interface

Jodi Dean on work in neofeudal times, via Los Angeles Review of Books: “When work is imagined — and some on the left think that we should adopt a ‘postwork imaginary’ — it looks like either romantic risk-free farming or tech-work, ‘immaterial labor.’ By now, the exposés on the drudgery of call center work, not to mention the trauma-inducing labor of monitoring sites like Facebook for disturbing, illicit content, have made the inadequacy of the idea of ‘immaterial labor’ undeniable. It should be similarly apparent that the postwork imaginary likewise erases the production and maintenance of infrastructure, the wide array of labor necessary for social reproduction, and the underlying state structure.”

May 23rd, 2020, Tom

Naomi Klein on the “Screen New Deal” (via The Intercept): “Calling [Bill] Gates a ‘visionary,’ [New York governor Andrew] Cuomo said the pandemic has created ‘a moment in history when we can actually incorporate and advance [Gates’s] ideas … all these buildings, all these physical classrooms — why with all the technology you have?’ he asked, apparently rhetorically. It has taken some time to gel, but something resembling a coherent Pandemic Shock Doctrine is beginning to emerge. Call it the ‘Screen New Deal.’ Far more high-tech than anything we have seen during previous disasters, the future that is being rushed into being as the bodies still pile up treats our past weeks of physical isolation not as a painful necessity to save lives, but as a living laboratory for a permanent — and highly profitable — no-touch future.”

May 11th, 2020, Tom

Andrea Bagnato on Red Zones, isolation, metaphors, blame, risk and coexistence (at e-flux architecture): “[…] the current manifestation of confinement is better thought of not so much as epidemic control, but as a form of risk displacement: a minority of workers is made to keep the economy going so that a majority of the population can stay at home. And the reverse is true as well: millions of people have to put up with extended confinement so that the risk posed by industrial workers doesn’t grow out of control. In the necropolitical calculations of the State, the physical health of workers and the mental health of everyone else are both a price worth paying.”

May 5th, 2020, Tom
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