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Rico Lins has collaborated with KulturRevolution magazine since its founding in 1982. Dedicated to discourse theory, this academic publication – created and edited by professors at the University of Bochum in Germany – proposed an attitude that is editorially and graphically consistent with the content.

The publication is characterized not only by thematic versatility – from sexuality to statistics, from architecture to neo-Nazis, from exoticism to nuclear threat – but also by graphic freedom (of expression) and the consequent experimentalism of its covers which are developed analogically and printed in three-color offset, A4 format, by a German printing firm.

Opting for this analogical process required much graphic experimentation in order to simulate and explain the color separations to the printer, with the superimposition and dovetailing of three layers, each with visual elements and specifications corresponding to the printing of each color. The success of the end result of these covers which, before printing, look like a totally fragmented analog project, depended not only on the designer’s effort to predict the sum total of the colors, but on the printing firm’s comprehension of all the technical indications. This kind of orchestration always runs the risk of the unexpected.


Klartext-Verlag Bochum Hattingen


Paris, São Paulo, London, New York, 1982-2017



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The cover for the 72nd edition of KulturRevolution magazine “Populism: Right, Left, Center?” Has as its theme the current world rise of populism, with theoretical references by political scientist Ernesto Laclau and Antonio Gramsci, portrayed inside the magazine with the mark of the Spanish political party Podemos.

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“Antagonism” is the central theme of this issue. Depicted in the Syrian flag colors, the cover reveals a refugees exodus photo in negative.


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To celebrate the ongoing dialogue of the magazine with current events and issues, the cover commemorating its 20th anniversary uses the image of a traditional black comb over the rebellious and colorful hair of German youth entangled in the magazine’s name.

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The “Coca-cola” cover story questions the existence of a collectivity in the 21st century, represented by the photo of a soft drink vendor cart on a Rio de Janeiro beach, by Brazilian photographer Edson Meirelles.

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Diskurs Macht Hegemonie, based in Rodchenko’s “Pro Eto” cover, a hibrid combination of leftwing icons (Mao, Marx, Trotsky, Foucault) depicts the crisis of political thinking during the 80’s.

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Links/Rechts. A tango footstp called “turn to right” is used as a caricature of the change of political power in Germany.

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This issue`s cover is a reflection on how simplistic and distorted the discourse of sustainability is when based exclusively on ecological issues.

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A series of romanticized interpretations of Nazism emerged in German cinema, literature and mass culture, and this Ken doll performing a Nazi step became the reincarnated prototype of the white Aryan man.

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A multitude of rapid learning methods has spread the idea of rapid (and superficial) knowledge acquisition.

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