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 — Rosa Mercedes / 02

On Friday, April 6, 2021, at 8 p.m., Akademie Schloss Solitude will host a Zoom event with former HaFI Residency fellowship holder Shirin Barghnavard about her film “Invisible” (2017). Moderated by Doreen Mende. To register, click here.

April 14th, 2021

The magazine MONOPOL currently features an interview (in German) with Shirin Barghnavard about her film “Invisible,” which she conceived and shot during her HaFI residency in 2017.

April 14th, 2021

via Hyperallergic on the environmental impact of blockchain referring to recent NFT (non-fungible token) art sales: “This is not the first time the art world has come under scrutiny for being on the wrong side of the climate conversation. Artists and activists have protested everything from the carbon footprint of physical art fairs to the fossil fuel money funding major museums. But some say the energy consumption of cryptocurrencies is particularly egregious, and research shows it’s relatively easily quantifiable. A study by Cambridge University, for instance, estimates that bitcoin uses more electricity per year than the entire nation of Argentina. (Ethereum mining consumes a quarter to half of what Bitcoin mining does, but one transaction uses more power than an average US household in a day, according to the Institute of Electrical and Electronics Engineers.)”


Nicholas Mirzoeff on “Artificial vision, white space and racial surveillance capitalism”: “Based as it is on ‘epidermalization’ (the assertion of absolute difference based on relative differences in skin color), AI’s racial surveillance deploys an all-too-familiar racialized way of seeing operating at plan-etary scale. It is the plantation future we are now living in. All such operations take place in and via the new imagined white space of technology known as the cloud. In reality, a very material arrangement of servers and cables, the cloud is both an engine of high-return low-employment capitalism and one of the prime drivers of carbon emissions.”


Sara Ahmed on the performativity 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
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