Produced on the occasion of the solo exhibition Jochen Lempert at Portikus in Frankfurt. With a mix of new and older photos, Lempert composed a sequence showing different ways to look at pairs. With an essay from Portikus director Yasmil Raymond. Concept by Jochen Lempert in collaboration with Alexander Mayer. Designed by Roger Willems.

Instructional Photography: Learning How to Live Now by artist and writer Carmen Winant, is an investigation of a genre of photographs Winant calls “instructional”, it asks: can photographs teach, in and of themselves? If so, how might we look to them to demonstrate new possibilities, from social organizing to self-actualization?

Alternating between found images and shorter, text-based observations (which serve to reinforce, rather than explain, one another), Winant delves into this new category of images through her own collection, understanding them as something beyond, or at least in between, documentary and fine art.

Edition of sixty copies numbered and signed by the artist on a certificate and twelve artist’s proofs.

Halo is a unique specimen in Jochen Lempert’s body of work. While the artist is known for his distinctive black and white analogue photographs, for this edition he also included colour. Obviously, this is a subtle, careful, and consistent shift. The photograph here is only partially hand-coloured, with a pale yellow that is perfectly in tune with the nuances of the grey.

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.

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

Born in 1951, Villiger trained in sculpture but discovered photography at the end of the 1970s. From 1981 until her death in 1997 she concentrated on taking photographs of herself. She emphatically believed in the power of the body even though, or rather because, she was already coping with the isolation caused by tuberculosis, which she had contracted at the age of 29. She believed not only in a life lived to excess, but also in the idea that photography can somehow renew the physical self.

With texts by Jean-Christophe Ammann and Niklaus Oberholzer.

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