Produced on the occasion of the artist’s exhibition ONYCHOPHORA, held at Valence, Art 3 in November 2010. One day old frogs were placed on photographic paper, to which the artist explains that as on jumps and the image is created, it produces the illusion of a fifth frog as the movement is being recorded.

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.

Produced on the occasion of Jochen Lempert’s first solo exhibition in the United States , a major survey at Midway Contemporary Art, Minneapolis, 3 February–31 March 2012 and and Rochester Art Center, 4 February–22 April, 2012. With a text by Chris Sharp.

Images of the exhibition can be found here.

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.

Over the course of approximately one year, The Registry of Promise consisted of four autonomous, interrelated exhibitions, which can be read as individual chapters in a book. In this series, Chris Sharp reflects on our increasingly fraught relationship with what the future may or may not hold, and the work engages with and plays upon the various readings and mutability of “promise”, along with the inevitability of what may come, whether positive or negative. Such polyvalence is particularly topical, as we have shifted from the anthropocentric promise of modernity to a negative faith in the post-human.

Including artists Becky Beasley, Patrick Bernatchez, Juliette Blightman, Peter Buggenhout, Nina Canell, Michael Dean, Alexander Gutke, Jochen Lempert, Jean-Luc Moulène, Marlie Mul, Matt Mullican, Rosalind Nashashibi, Antoine Nessi, Jean-Marie Perdrix, Reto Pulfer, Mandla Reuter, Hans Schabus, Lucy Skaer, Michael E. Smith, Carlo Gabriele Tribbioli, Francisco Tropa, Andy Warhol, Anicka Yi.