Each publication contains a unique photograph taken during a journey crossing the Albanian mountains in the summer of 2023. Edition of 50

Produced on the occasion of Marietta Mavrokordatou’s exhibition GIRL at Thkio Ppalies, Nicosia, 29 September – 5 November, 2023. With a text by Hannah Regel.

More information on the Thkio Ppalies exhibition can be found here, and also a later iteration at Brunette Coleman, London here.

Born 1996, in Cyprus, Marietta Mavrokordatou lives and works in London. She explores the potential forms of the photographic medium. By redefining autobiographical elements, which she uses as points of reference, a new way of perceiving is presented through her own eyes.

“For more than 35 years, Jochen Lempert’s photographs have stood out as a singular oeuvre within contemporary art. The trained biologist’s gaze is marked by constant wonder. At first, and not without irony, at the history and forms (and warps) of our cultural fascination for the inexhaustible potential of plants and animals. He is increasingly interested in the phenomena of perception and how they are translated into images, in the life forms of flora and fauna and their analogies to his own creative process… Following the publication of Phenotype in 2013 by Verlag der Buchhandlung Walther König, Natural Sources is Jochen Lempert’s second major artist’s book.”—Florian Ebner

A collaboration between Jochen Lempert and Jürgen Stollhans on the occasion of both artists’ duo show at the Kunstverein Ulm in July–August 2007.

Produced on the occasion of the exhibition Ellipsis, featuring Chantal Akerman, Lili Dujourie and Francesca Woodman, curated by Lynne Cooke, at Konsthall Lund, Sweden; Museo Tamayo Arte Contemporáneo, Mexico & Dundee Contemporary Arts, UK, between 2007–08.

“Although born ten years apart and in very different circumstances, the three artists featured in this exhibition each profited from the turn to still photography, and other lens-based technologies—film, slide projection and the newer medium of video that dominated vanguard art practice in the late 1960s. Taking themselves, their bodies and their immediate circumstances as their point of departure, during the 1970s all three made performative work for the camera. Tellingly, the sites they favoured were mostly their own studios or domestic interiors.”—Lynne Cooke

More information on the exhibition can be found here.

Published on the occasion of Dean Sameshima’s recent solo exhibition at Soft Opening, being alone is edited by Antonia Marsh, designed by Robert Milne, and features a newly commissioned essay from American writer, critic and poet Bruce Hainley.

In each of the twenty-five black and white photographs that comprise Dean Sameshima’s recent series being alone, the outline of a solitary viewer sits bathed in light emitting from the glowing screen of a Berlin porn theatre. These cinemas offer the kind of encounter that has been described as an “anonymous being-together”, a space wherein an individual can project not only his own desire and sexual fantasy onto the screen but disidentify with the confining projections of the external world.

Designed to protect its occupants from judgement and persecution, the artist enshrines these private rooms, continuing his documentation of the architecture and physical characteristics of queer spaces. While Sameshima atypically retains the presence of bodies in these images, with no identifying features revealed, his focus locates more deliberately on the anonymity of these individuals alongside the emptiness that surrounds them.