Produced on the occasion of the exhibition, Jochen Lempert at CA2M Centro de Arte Dos de Mayo, Madrid, 1 June–23 September 2018.

The work of Jochen Lempert portrays the animal world in the most varied contexts: ranging from the natural habitat to Natural History museums, from the zoo to the city, in remote locations or in banal situations and objects.

In his tireless quest, Lempert has managed to create a vast archive of images that covers a wide spectrum spanning everything from everyday views to compositions that tend more towards abstraction.

Produced on the occasion of Jochen Lempert’s exhibition Hochsommerliche Aerosole at Richas Digest, Köln, 14 August–5 September 2020

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.

More information on the exhibition can be found here.

Produced on the occasion of the exhibition Jochen Lempert at the Museum Ludwig, Köln, 23 April–13 June, 2010.

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.

Artist book with text drawings by Marc Nagtzaam, made between 1992 and 2019. Complementary to the writings, 24 artists contributions are inserted throughout the book. With contributions by Mark Manders, Louis Lüthi, Sue Tompkins, Stephan Keppel, Steve Van den Bosch, Nickel van Duijvenboden, Sophie Nys, Pierre Leguillon, Batia Suter, Experimental Jetset, Na Kim, Tim Hollander, Lily van der Stokker, Karin Herwegh, Karel Martens, Ruth Wolf-Rehfeldt, Kasper Andreasen, Jochen Lempert, gerlach en koop, Henri Jacobs, Anne-Mie Van Kerckhoven, Marijn van Kreij, and Willem Oorebeek.

As a continuation of the first Roma publication, SOME, dating from 1998, this book marks the 20+ years anniversary of Roma Publications. Designed by Marc Nagtzaam and Roger Willems. In an edition of 400, signed and numbered

Publication accompanying the first part of a diptych exhibition at S.M.A.K., Ghent, spread over two years, comprising new and existing work by artists and photographers including Lewis Baltz, Tina Barney, Mohamed Bourouissa, Moyra Davey, Marc De Blieck, Sara Deraedt, Patrick Faigenbaum, Peter Fraser, Alair Gomes, Jitka Hanzlová, Roni Horn, Stephanie Kiwitt, Aglaia Konrad, Jochen Lempert, Zoe Leonard, Jean-Luc Moulène, Zanele Muholi, Jean-Luc Mylayne, Trevor Paglen, Doug Rickard, Torbjørn Rødland, Michael Schmidt, Arne Schmitt, Allan Sekula, Ahlam Shibli, Malick Sidibé, Dayanita Singh, Wolfgang Tillmans, Marc Trivier and Tobias Zielony.

Produced on the occasion of Jochen Lempert’s exhibition Plant Volatiles at BQ, Berlin in 2016.

“While factual science will never be able to embrace the enchantments of nature, Lempert’s photographs meet up with them when showing swarms of animals, where individuals dissolve and become part of a new form, or when picturing insects as foreign bodies within a context they do not belong to and the coherence of which they irritate. As frozen ephemeral appearances breaking up not only the formal coherence of the image but also its meaning and representational function, they are symbols of time and of the ever impenetrable secret of all living.”—Mousse magazine review, available here.