The Skins of Alca impennis (1992–2017) is an ongoing series of photographs depicting the extinct bird, the Great Auk (Alca impennis). Over the last two decades, Lempert has photographed 52 of the 78 specimens that remain in collections internationally—entering the bureaucracies that surround these birds, gaining permission from those appointed to administer and conserve them for posterity, and uniformly representing their profiles. The book is published on the occasion of Lempert’s solo show Honeyguides held at the Sprengel Museum in October 2017. Images of the bird’s taxidermized heads alternate with blank pages, for the still missing photographs of this ongoing project.

Produced on the occasion of Cathy Wilkes’ 2015 exhibition at the Tate Liverpool, the largest and most comprehensive display of work to date, bringing together more than a decade of the artist’s acclaimed work, including several of her large-scale sculptural installations alongside paintings, works on paper and archive materials.

Best known for her imaginary environments which recall poetic visions, her installations evoke places of loss or transformation. Her work is occupied by beings, often of unspecified gender: infants, elders and animals. It includes collections of objects and treasured ingredients accumulated from daily life, for example baking parchments, cloths, towels, cups and plates and biscuits.

Produced on the occasion of Jef Geys’ participation in the São Paulo Biennale, 1991. With texts from Piet Coessens, Jef Geys and Jean Goossens.

Produced on the occasion of the exhibition 11 Los Angeles Artists, 30 September–7 November, 1971 at the Hayward Gallery, London. The exhibition featured the work of a ‘small diverse group of artists’, many of them only recently out of art school. Some of these younger artists, including John Altoon, Larry Bell, Robert Irwin, John McLaughlin, Bruce Nauman, Ed Ruscha, Ken Price and William Wegman, were little known in the US outside a small number of alternative galleries.

The System of Systems is a book published in conjunction with an exhibition which took place in Athens in May 2017. It interrogates how political powers in Europe are using technologies, from data collection to private companies, in bureaucratic systems which determine the fate of asylum seekers. Bringing together artists, designers, architects, academics, activists and practitioners, working across a range of mediums, the publication responds to the complex and knotty legal framework which individuals seeking asylum are forced to navigate, or, in many cases, elude.

With contributions by Lawrence Abu Hamdan, James Bridle, Kamil Dalkir, Design Unlikely Futures, Ayesha Hameed, Paul Feigelfeld, Melanie Friend, Eugenio Grosso, Olivia Head (Bread & Roses), Andrew Herscher, Thomas Keenan, Sohrab Mohebbi, Daniela Ortiz, Lucie Parker, Jill Power, Xose Quiroga, Daniel Trilling, Nana Varveropoulou.

Edited by Rebecca Glyn-Blanco, Maria McLintock and Danae Io.

A poem written by the artist for the space of the book composed only of punctuation marks. For about twenty years, Olaf Nicolai (born 1962 in Halle, East Germany, lives and works in Berlin) has been producing conceptual artworks influenced by a philosophical background inherited from its formative years in East Germany, questioning the deadlocks of romanticism and Marxism. Alternating between photography, sculpture, publishing, design, installation and performance, Nicolai creates artistic situations whose purpose is to hijack the production patterns of the industrial world as well as its cultural, financial and social representations.