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

Sara Ahmed on the perfomativity of disgust (from The Cultural Politics of Emotion, 2004): “To name something as disgusting is to transfer the stickiness of the word ‘disgust’ to an object, which henceforth becomes generated as the very thing that is spoken. The relationship between the stickiness of the sign and the stickiness of the object is crucial to the performativity of disgust as well as the apparent resistance of disgust reactions to ‘newness’ in terms of the generation of different kinds of objects. The object that is generated as a disgusting (bad) object through the speech act comes to stick. It becomes sticky and acquires a fetish quality, which then engenders its own effects.”

November 7th, 2020, Tom

David Graeber (1961-2020) on What Would It Take (from his The Democracy Project. A History, a Crisis, a Movement, 2013, p. 193): “We have little idea what sort of organizations, or for that matter, technologies, would emerge if free people were unfettered to use their imagination to actually solve collective problems rather than to make them worse. But the primary question is: how do we even get there? What would it take to allow our political and economic systems to become a mode of collective problem solving rather than, as they are now, a mode of collective war?”

September 7th, 2020, Tom

T.J. Demos on why cultural practitioners should never surrender, via  “For artists, writers, and curators, as art historians and teachers, the meaning-production of an artwork is never finished, never fully appropriated and coopted, in my view, and we should never surrender it; the battle over significance is ongoing. We see that battle rise up in relation to racist and colonial monuments these days in the US, the UK, and South Africa. While the destruction of such monuments results from and is enabling of radical politics, it’s still not enough until the larger institutions that support and maintain their existence as well as the continuation of the politics they represent are also torn down. This is urgent as well in the cultural sphere, including the arts institutions, universities, art markets, discursive sphere of magazines and journals, all in thrall to neoliberalism, where we must recognize that it’s ultimately inadequate to simply inject critical or radical content into these frameworks, which we know excel at incorporating those anti-extractivist expressions into further forms of cultural capital and wealth accumulation. What’s required is more of the building of nonprofit and community-based institutions, organizing radical political horizons and solidarity between social formations.”

August 21st, 2020, Tom
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