Produced by More Publishers as part of Hors-série (# 126). Offset print on Olin Regular Absolute White 250 gsm. Signed and numbered edition of 40 (+ 10 a.p).

Jochen Lempert photographs the animal world in the most diverse contexts: from their natural habitat to the museum of natural history, from the zoo to the urban environment, in remote places or banal settings and situations. Lempert compiles his findings in a vast archive of images covering an ample spectrum, from common everyday views, to compositions that tend towards abstraction. This interest in the natural world as a subject has been further complemented by his exploration of the properties and materiality of the photographic image. Analogue, black and white, hand-printed in the darkroom, his photographs resist categorization and confront the canons of today’s aesthetic.

Produced by More Publishers as part of the Sunday series (#14). Signed and numbered edition of 100 (+7 A.P)

Jochen Lempert photographs the animal world in the most diverse contexts: from their natural habitat to the museum of natural history, from the zoo to the urban environment, in remote places or banal settings and situations. Lempert compiles his findings in a vast archive of images covering an ample spectrum, from common everyday views, to compositions that tend towards abstraction. This interest in the natural world as a subject has been further complemented by his exploration of the properties and materiality of the photographic image. Analogue, black and white, hand-printed in the darkroom, his photographs resist categorization and confront the canons of today’s aesthetic.

Close to spiritual anarchism, Georgia Sagri’s writing happens in the heat of negotiation. Starting in the months leading up to the occupation of Zuccotti Park in 2011, which became the movement for people’s self-governance known as Occupy, this book carries the energy and commitment of open struggle, direct address, self-organisation and public assembly. It is a critique of representation and its implicit oblivion, told through a decade of artistic and activist practice. The writing is a mode of recovery, it is pre-content shared to encourage open processes in art, thinking and action.

Produced on the occasion of the exhibition Henri Michaux, Nemours Aurélie: Frac de Bourgogne at the Château de Tanlay, Yonne, 20 May–1 October, 1995.

Henri Michaux was a Belgian-born French author and painter best known for the work he produced while hallucinating on mescaline.

Aurélie Nemours was a French painter who made abstract geometrical paintings and was highly influenced by De Stijl, or neoplasticism.

*Please note this publication is secondhand and has some traces of previous ownership

The Austrian Günter Peter Straschek belonged to the very first cohort of students at the Deutschen Film- und Fernsehakademie in West Berlin – alongside Hartmut Bitomsky, Harun Farocki and Helke Sander. He and many of his fellow students participated in the New Left movement, recording demonstrations and supporting campaigns. Straschek’s Western für den SDS (1967/68, cinematography: Holger Meins) depicts the development of the left as a learning process for women, whose consciousness grows through the movement, but who continue to have no say in it. It was seized by the governing body of the film school in 1968, never screened and consequentially became legendary. Western für den SDS was finally given its premiere in 2018 at Museum Ludwig, as part of an exhibition dedicated to Straschek. This book publishes previously unreleased work material related to the film, which is a key work of the student movement and of Günter Peter Straschek’s oeuvre. Includes a photo gallery from the Christopher Williams class, Köln, 2019.

Produced on the occasion of the restoration of Lili Dujourie’s video works by Argos Editions, Brussels in 2002.

“Lili Dujourie made her videos in complete solitude, without a cameraman or a technical entourage. She saw on a monitor what the camera recorded of her from a fixed viewpoint. Her videos were never edited ‘extenuatingly’ afterwards; the video had to deliver the desired image or the work was destroyed. The vulnerability of the making of videos is comparable to the technique of the aquarelle—the touch should show great precision, otherwise the work fails. Mirrors, a mantelpiece, a window, slightly reflecting because of the entering light, a bed with white sheeting: familiar, yet as regards to content strongly layered encompassing ‘signs’ within which Lili Dujourie moved about in a suite of punctual movements, heightened with erotic suggestions and connotations. Time is being lived (in) in these videos—they reflect a conscious undergoing in the spectator of slow actions without finality”—Luk Lambrecht