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This visual manifesto explores the notion of ‘the photographic’, an analysis of the effects the technical image has on the visual culture as a whole. The glossy photo essay focuses on contemporary artistic practises and experimental approaches to photography, divided into four themes: The Photographic Fossil, Chemical Matter, Optical Confusion, and Performing the Image. The accompanying text insert engages a discourse among artists and intellectuals on defining photography and technique. ‘Off Camera’ is the conclusion of a research project carried out by Belgian researcher Steven Humblet’s group, Thinking Tools, at the Royal Academy of Fine Arts, Antwerp.

Based in Mexico City, the architectural studio PRODUCTORA was founded by Abel Perles, Carlos Bedoya, Victor Jaime, and Wonne Ickx. In creating buildings that function, delight, stimulate, and are likely to withstand tectonic fads as well as telluric shifts, the studio never compromises the restless intellectual curiosity at its heart. Both a compendium and a promise of this singularity, this book surveys the groundwork PRODUCTORA has set down over a decade of activity, presaging what is possible as these foundations continue to be built upon. Their work is distinguished by an interest in precise geometries and the search for timeless material and spatial resolutions.

Batia Suter’s work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. This volume follows on from the first ‘Parallel Encyclopedia’, published in 2007. Underlying themes of Suter’s practice are the “iconification” and “immunogenicity” of old images, and the circumstances by which they become charged with new associative values. “In my work, I collect groups of images based on various themes and characteristics, and I investigate how they can manipulate each other, depending on where and how they are placed. In the process of making this book, narrative lines unfolded before my eyes as I shifted images around.” This is a revised reprint.

Karel Martens occupies an intriguing place in the current European landscape of art and design. His work is both personal and experimental, but also publicly answerable. Martens, a prolific book designer, has also contributed to a wide range of design commissions, including stamps, coins, and signs. His artistic practice is intimately connected with this design work, from geometric and kinetic constructions, to works on paper and monoprints. Covering almost 60 years of practice and now in its fourth edition, this book offers new ways to look at and discuss the output of this designer and artist, and is offered in the same spirit of experiment and dialogue that characterises the work it presents.

Published on the occasion of a solo show by Willem Oorebeek at WIELS in Brussels, this richly illustrated book presents re-readings of fifty years’ work and the materiality of production. These are numbered according to recollection, organised under headings, and translated from Dutch to English. The translations are coloured by two years of conversation with editor/designer Will Holder –accounting for ambiguity, rabbit-holes, and an [un]conscious preference for “quasi-” “ofschoon...” “enzovoort.” Repetition, alliteration, and other material, musical and metric devices are placed on the page, quite intentionally, designed “an sich” to facilitate memory and recall.

Batia Suter’s work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. ‘Parallel Encyclopedia’, which she conceived between 2004 and 2007, contains a precise composition of numerous images taken solely from other books. Significant underlying themes expressed in the Amsterdam-based, Swiss artist’s practice are the “iconification” and “immunogenicity” of old images, and the circumstances by which they assume or become charged with new associative values. This is a reprint of Suter’s voluminous book, originally published in 2007 and covering a pictorial plethora of human history, science, philosophy, art, and culture.

This large-sized publication presents 63 photos of Amsterdam by cinematographer Robby Müller (1940–2018). The photos were published every Monday in the Dutch newspaper ‘Het Parool’ in 2019 and 2020, chosen and provided with an accompanying text by Andrea Müller-Schirmer. Her short, associative writings offer insight into Müller's working method, his dealings with light, and tell about Amsterdam. This publication is intended as an ode to the special light of Amsterdam, seen through the eyes of Müller, and a tribute to analogue photography. The book features texts by Andrea Müller-Schirmer and Bianca Stigter and is designed by Linda van Deursen.

Originally published in 2010, ‘On the Self-Reflexive Page’ is part artist’s book and part essay, part literary excavation and part typographical miscellany. For this second incarnation of Louis Lüthi’s anthology of thematically arranged pages, the original material has been significantly expanded and revised. Like its predecessor, the new version proposes a typology of nonverbal elements found in novels, short stories, and essays. In each of the pages reproduced here, the prose is interrupted by one of these nonverbal elements, from black or blank pages, drawings or collages, photographs or film stills, to fragments of text or visual poems that are distinct from a conventional page layout.

The chipboard lies at the heart of James Beckett's installation and book, ’The Sceptical Structures of Max.’ Invented by industry magnate Max Himmelheber (1904–2000) in the spirit of frugality and economy, the chipboard accounts for 80% of material in globally-produced furniture now. Using chipboard salvaged from the streets of Amsterdam, the artist explores the relationship between industrial production and human behaviour. This books includes excerpts of Himmelheber’s writings from his quarterly journal ‘Scheidewege’ on unusual topics such as boy scouting, Shintoism, and environmentalism, as well as a conversation between Dirk van Weelden and the Zimbabwean-born artist.

Bart Lodewijks undertook a series of lined chalk drawings in the halls and rooms of a care home for the elderly in Merelbeke, Belgium. But when the global pandemic broke out in March 2020, the living centre had to be closed to outsiders. During this time, he continued his drawings at places where the residents had once lived or worked. Later, after they were moved to a brand-new facility, the artist continued adding chalk textures and shapes to the walls, now in colour. This three-part narrative of Merelbeke comes with ‘Naar Watou toe’, a collaboration of Lodewijks and Jan Kempenaers in anticipation of a yearly arts festival at a small Belgian town near the French border.

Dutch artist Kees Goudzwaard (Utrecht, 1958) lives and works in the cities of Antwerp (B) and Reusel (NL). Goudzwaard's abstract work is very appealing. He translates models into abstractions. With coloured sheets of paper Goudzwaard manages to make the translation from model to canvas without losing the original thought. The use of sticky-tape is another recurring theme. The basic materials the artist uses do not automatically result in simplistic work, the contrary is true; the intricateness of the creations is surprising and intriguing.