Bill is an annual magazine of photographic stories without any accompanying text to prioritise visual reading without distraction. Designed, edited, and produced by designer Julie Peeters and associate editor Elena Narbutaite, this issue contains 184 offset printed pages on thirteen different paper stocks. Contributions for this issue include George Tourkovasilis, Cinzia Ruggeri through the lenses of Ilvio Gallo and Occhiomagico, SC103’s first runway, Inge Grognard, Adrianna Glaviano, the contact sheets of Santi Caleca, Rosalind Nashashibi, as well as magazine spreads from Anders Edström, Curtis Cuffie, and Hans Hollein.

Produced on the occasion of Jochen Lempert’s exhibition Natural sources at Huis Marseille, Amsterdam, 10 September–4 December, 2022.

This book features 323 photographic images by B. Ingrid Olson, all taken in 2021. Near sunset, the artist often constructs provisional sculptural arrangements of raw materials, found objects, remnants of her other works, and studio detritus. Carefully stacked or precariously balanced, each temporary assemblage is documented in the evening, when the cast light creates long shadows, accentuating the shapes and textures at hand. The formations are adjusted across multiple images, creating varied sets of near repetitions that evidence Olson’s quick decisions, minor adjustments and the movement of light and shadow at the end of each day.

Produced on the occasion of the 1987 exhibition Marcel Broodthaers in Zuid-Limburg Foto’s/Photographies/Photographien 1961–1970 at the Bonnefantenmuseum, Maastricht. With a foreword by Alexandre van Grevenstein, and texts by Marcel Broodthaers and Ian Jeffrey.

A pictorial record of the exhibition Japanese Photography 1930s, Kanagawa Prefectural Museum of Modern Art, 1988, which collects photographs from the emerging photography of the era. Approximately 340 illustrations of the work of photographers such as Kiyoshi Koishi, Shoji Ueda, Ei-Q, Koshiro Onchi, Nakaji Yasui, Iwata Nakayama, Shinzō Fukuhara, Kineo Kuwabara, Terushichi Hirai amongst others.

Allan Sekula was one of the most important figures in modern photography of the second half of the twentieth century. His work focused on a critique of the links that photography has always maintained with the economy, work and the politics of representation. From his beginnings in the seventies, Sekula became a reference by incorporating textuality into photography in a way that had been previously denied it by modern art. His book Photography Against the Grain: Essays and Photo Works, 1973–1983 (1984), a key work of the new photographic discourse of the late twentieth century, enshrined him as one of the least orthodox historians of the medium.