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.

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.

Sven Stilinović was still a schoolboy when he started exhibiting with the Group of Six Artists on the streets of Zagreb in 1975. Photographic enlargements of small collages in which he recycled fragments of older photographs and tiny objects, as well as series where photographs of garbage interchange in a photographic sequence with photographs of cluttered shops raise the issue of photographic motif, while in “Comparison of the development of painting and non-development of photography” (1975) he concludes that that which is offered as a history of photography does not lead to its openness and creativity.

With texts from Ivana Bago, Branko Cerovac, Suzana Marjanić, Vlado Martek, Mladen Stilinović, Sven Stilinović, Branka Stipančić, Raša Todosijević, Goran Trbuljak.

Raoul Hausmann’s photographic work has long been underrated. This key artist of the twentieth century is remembered primarily for the central role he played in Berlin Dada with his assemblages, photomontages, and optophonetic poems, yet the vicissitudes of history caused his photography, an essential facet of his oeuvre, to be cast almost entirely into the shade. From 1927 on, Hausmann became an avid and restless photographer in Germany, in particular during his stays at the North Sea and Baltic coasts. While in exile in Ibiza after the Nazis came to power, he took an interest in the local populace and vernacular architecture, before emigrating again in 1936. During this intense decade, he reflected extensively on photography, developing a highly individual practice in the medium, simultaneously documentary and lyrical, inextricably linked to his way of thinking and living.

Produced on the occasion of Maria Eichhorn’s exhibition at Kunsthaus Bregenz, 10 May–6 July, 2014. This comprehensive and chronologically structured catalogue raisonné orders the work of the artist Maria Eichhorn according to art history and is supplemented by extensive image and archive material on her works, projects and exhibitions since 1986.

With the addition of large-format illustrations of the exhibition in Bregenz, this is one of the most comprehensive publications on the work of the artist to date. Designed by Yvonne Quirmbach.

Produced on occasion of the exhibition From Nirvana to Catastrophe: Matsuzawa Yutaka and his ‘Commune in Imaginary Space’ at Ota Fine Arts, Tokyo, 3 March–22 April, 2017.

Yutaka Matsuzawa (1922–2006) was considered the father of Japanese conceptual art. In his pursuit of ways to express the invisible invisibly, Matsuzawa developed a unique understanding of conceptual art that both elevated and transcended the typical notions of conceptual art in the western, euro-centric art worlds.

The exhibition focused on the period 1969–1973, the most active years of Matsuzawa’s activities, and reflected on the exhibition Nirvana (1970), which was a pioneering international exhibition on Conceptualism in Japan.