Texte von Stefan Gronert, Fanni Fetzer, Kevin Moore
Deutsch/Englisch
Design: Martin Küchle, Nürnberg
359 Abbildungen
Hardcover mit Schutzumschlag
mit Werkverzeichnis der »exposures«
der Jahre 2000 bis 2023

164 pages
28 x 28 cm
Hartmann Books, 2024
ISBN 978-3-96070-108-8
Euro 48,00

»Dass sich anhand der Produkte des Menschen einiges über dessen Wesen erfahren lässt, ist die Ausgangsthese Oliver van den Bergs, der bekannt wurde durch seine nach Vorlage von technischem Gerät wie Radar, Flugschreiber oder Sternen­projektor geschaffenen Objekte«, schreibt Hilke ­Wagner. So entstehen formvollendete Skulpturen mit futuristisch-technoider Anmutung, die auf ihre perfekte Oberfläche reduziert, ihrer Funktion ­beraubt und auf ihr prototypischen Aussehen zurückgeführt sind. Oliver van den Berg fertigt sie zumeist aus Holz, dem Bildhauermaterial par excellence. In der Konfrontation dieses Werkstoffs mit der Funktion der technischen Hochglanzvorbilder führt er die Fortschrittsutopien ad absurdum und stellt gleichzeitig die Frage nach Original und Abbild. »Mit dieser künstlerischen Aneignung, der Reduktion auf die ästhetische Qualität, eröffnet sich die ­Möglichkeit einer interesselosen Reflexion, denn jede technische Erfindung ist zugleich Projektion menschlicher Träume und Unzulänglichkeiten. In diesem Sinne ist seine Arbeit in der kultur­geschicht­­lichen Tradition von Mensch-Maschine-Analogien zu verorten.« Die in diesem Band vorgelegte Werkübersicht seit 1990 ordnet der Künstler selbst in Kategorien wie Attrappe, Dokumentation, Dopplung, Erinnerung, Erzählung, Modell, Nach­ahmung, Parodie, Replik, Täuschung, Übersetzung, Versuch, Weiterentwicklung, Wiederholung, Zitat. Sein Motto: »Man macht, was man macht.«

Editor: Kuckei + Kuckei, Berlin
Texts: Catherine Nichols, Nils Röller
German/English

200 coloured and 300 b/w illustrations, clothbound printed

376 pages
30 x 23,5 cm
Snoeck, 2022
ISBN 978-3-86442-382-6
Euro 78,00

two artists books:
TALMID (with photographs by Jörn Vanhöfen)
MEIN ORIENTALISCHES TAGEBUCH (reproductions from a travel diary by Ignaz Goldziher)
with a text by Navid Kermani
German/Englisch
40 photographs as giclèe print on Japanese washi paper
handbound
Edition: 10 + 1

24,5 x 32,5 cm
Bitter Edition Berlin, 2021
Euro 1800,00

Editor: Kuckei + Kuckei, Berlin
Text: Dr. Christina Leber, Head of Art Collection DZ Bank, Frankfurt am Main
Christopher Jones, Curator of Photography and Media Art at Ringling Museum, Sarasota (USA)
Design: Koch und Braun, Berlin
German/English

Supported by NEUSTART KULTUR und STIFTUNG KUNSTFONDS

120 pages
29 x 23,5 cm
Kuckei + Kuckei, 2021
ISBN 978-3-00-069492-9
Euro 38,00

Editor: Kunsthalle Nürnberg, Nuremberg
Texts: Barbara Probst, Brian Sholis, Harriet Zilch
Preface: Ellen Seifermann
Design: Martin Küchle, Nuremberg
German/English

Hardcover with gray cardboard, silkscreen printing and Swiss brochure
with 5 foldouts, 80 illustrations

112 pages
22,5 × 32,5 cm
Hartmann Books, 2021
ISBN 978-3-96070-061-6
Euro 38,00

Co-publisher: Le Bal, Paris
Text: Frédéric Paul
Design: Pierre Hourquet, Temple, Paris
French/English

Swiss brochure with large flaps, with five foldouts and 158 illus.

120 pages
23,5 x 30 cm
Hartmann Books, 2019
ISBN 978-3-96070-035-7
Euro 34,00

These photographs were made on long walks through the streets of African capitals, including Johannesburg, Durban, Maputo, Beira, Harare, Nairobi, Kigali, Kampala, Addis Ababa, Luanda, Libreville, Accra, Dakar and Dar es Salaam, and the series takes its title from the Museum of the Revolution in Maputo, Mozambique, which is situated on the Avenida 24 Julho. The 24th of July 1875 marked the end of an Anglo-Portuguese conflict for possession of the territory that was decided in favour of Portugal. One hundred years later the name of the avenue remained the same because Mozambique’s independence from Portugal was proclaimed in June 1975 and now the 24th of July is Nationalisation Day.

In the Museum of the Revolution, there is a panoramic painting produced by North Korean artists depicting the liberation of the capital from Portuguese colonial rule. It illustrates the rhetoric of a revolution as the leader and followers parade through the streets and avenues, laid out with grandeur by the colonial powers. These streets, named and renamed, function as silent witnesses to the ebb and flow of political, economic and social shifts of power and become a museum of the many revolutions that have taken place in African countries over the past 65 years.

In Tillim’s photographs, the streets of these African capitals reflect a new reality, distinct from the economic stagnation wrought by socialist policies that usually accompanied African nationalism, the reality of rebuilding and enterprise, and new sets of aspirations imbued with capitalistic values.

136 pages
28 x 26 cm
MACK, co-published with Fondation Henri Cartier-Bresson, Paris, 2019
ISBN 978-1-912339-27-3
Euro 35,00

Guy Tillim’s Edit Beijing is a series of diptychs and triptychs shot on the streets of Beijing during a residency organised by the Parisian publisher, Editions Bessard. It has been nominated for the Kassel Photobook Award 2017.

It is a Limited Edition of 500 copies design by Sybren Kuyper aka SYB, the book come inside a simple slipcase.

66 including 2 foldouts pages
Editions Bessard, 2017
ISBN 979-10-91406-49-9
Euro 75,00

Lilly Lulay, Béranger Laymond: Exhibition catalogue – IEPA # 01 (International Exchange Program for Visual Artist)

66 pages
basis e.V., Frankfurt, 2017
ISBN 978-3-9812487-4-6
Euro 8,00

Michael Laube’s artistic development has its basis in painting. With his turning to acrylic glass as a carrier medium, he has transcended and broadened the familiar boundaries of the painterly to include spatiotemporal perspectives, which thus permit him more radical forms for his examinations of the themes of light, movement, color, and space. In his works, colorful structures interact in sequences of solid-colored stripes or rings, which then undergo, in part radical, alterations with a change in the viewer’s position. Beginning with a basis layer, he mounts differently designed intermediate layers, so that a moving “in front of and behind” arises as a result of this layering. The monograph Space Reloaded provides insights into Michael Laube’s artistic work of the last five years.

140 pages
24,50 × 30,50 cm
Kerber Verlag, 2016
ISBN 978-3-7356-0326-5
Euro 38,00

Barbara Probst (*1964 in Munich; lives in New York and Munich) studied sculpture at the Academy of Fine Arts, Munich, and photography under Bernd Becher at the Düsseldorf Art Academy. She began her career with sculptural works, then moved on to three-dimensional installations that included photography, and finally, to the multi-part photographic works, the “exposures,” which brought her international renown. 12 Moments presents her new series of diptychs from the year 2015. Unlike her previously, primarily complex, multi-part works of art, which she photographed from a variety of perspectives simultaneously, this new, more minimalist series has been reduced to just two perspectives of the same scene in the same moment. In contrast to her earlier works, the pictures in this series are dreamlike and uncanny. In his extensive essay, Robert Hobbs, the well-known American author, curator, and art historian, puts these new works into the context of Probst’s previous artistic development.

68 pages
29 × 29 cm
Hartmann Projects, 2016
ISBN 978-3-96070-005-0
Euro 38,00

Lilly Lulay went through piles of pictures, collected photographs which rarely carry traces of their origin anymore, she sourced from private family pictures and random snapshots, then she cuts, dissects, disassambles and destroys them. That´s how her Mindscapes originated, which are so wondrously familiar to us. Nothing is as itself recognizable but still is oddly familar. No known places but nonetheless familiar sceneries. Set pieces of souvenir pictures come to inhabit the spaces of the mind. Each picture is many and vice versa many pictures are one. Essentially the Mindscapes are photograhic constructions of memory pictures. They form individual and collective image experience spaces in which imagination is allowed to settle in.

88 pages
19 × 27 cm
Revolver Publishing, 2016
ISBN 978-3-95763-346-0
Euro 25,00

Pictures develop a logic of their own when all that is portrayed is concealed and the sole remaining subject of the picture is its materiality. For the logic immanent to the image is revealed only by studying the pictorial means actually used. If one examines Peter K. Koch’s oeuvre as a whole, a pattern emerges from the singular logic of the individual image.

52 pages
32 × 23,5 cm
permanent Verlag, 2015
ISBN 978-3-938370-54-4
Euro 20,00

Vanhöfen’s pictures bear witness to the metamorphosis of material; to both small and gigantic upheavals. The melting of the glaciers cannot be prevented, not even by cleverly applied layers of insulation. Areas of the earth are now being exposed that were covered for thousands of years. New continents make their appearance while vast tracts of coastline are about to vanish from the map. But this future is not an apocalyptic vision, but rather a vision of Nature that will inevitably re-conquer its domain in some future post-human era.

58 pages
24,5 × 27,5 cm
Kuckei + Kuckei, 2015
ISBN 978-3-00-047796-6
Euro 25,00

Nothing is sacred to Miguel Rothschild. The Berlin-based Argentinian artist (*1963) likes to play with set pieces from church history and with perceptual conventions: photographs of cathedral rosettes are perforated for his surprising visual objects or hung with colored fishing line—the glass Madonnas flutter from the wall like confetti or colorful rain. In the series The Birds, Rothschild populates scenes from Hitchcock’s movie with turtledoves from art history, with a highly sinister result. He builds games of skill from confessional lattices; the challenge is to attempt the impossible and place one of the countless balls on each cross. He even simulates the big bang using symbols and signs from comic strips on painted canvas—in the beginning was the word? Rothschild appropriates art-historical icons in a refreshingly disrespectful way, liberates them from status and role, and in doing so relies on the subversive force of laughter.

184 pages
24,5 × 29,5 cm
Hatje Cantz, 2015
ISBN 978-3-7757-4024-1
Euro 49,80

Exploring the rural surroundings of Buenos Aires, Guillermo Srodek-Hart used his 4×5 camera to capture the interior of old commercial establishments. Butcher’s shops, bars, bicycle repair shops and dry cleaners were photographed in the manner of a still life, thus devotionally consecrating objects intended for consumption to an unalterable condition. For many of these places, the record made by Srodek-Hart was the last depiction of a disappearing world. Without changing a single item in the scene, Srodek-Hart installed his plate camera and hid behind a black drape in order to compose the picture and focus the camera. During the long exposure, it seemed as though time stood still. Despite the fact that neither the owners nor any of their customers appear in them, the photographs capture traces of a human presence reflected in the organization of the objects and in the manner of the labour we can imagine taking place in each of the sites. These photographs express both visible and invisible elements and, ultimately, operate as a kind of vanitas, in which the imminent extinction of these old shops reminds us of the transient condition of the ‚forms‘ of life that the modern city tends to defeat, affecting the realm of what has therefore become its opposite; the rural way of life.

160 pages
30,7 × 26,4 cm
Prestel Verlag, 2015
ISBN 978-3-7913-8144-2
Euro 49,95

Co-published by The Walther Collection, this book presents selections from Guy Tillim’s most influential works and series of the last decade, including “Mai Mai militia in training,” “Jo’burg,” “Avenue Patrice Lumumba,” and “Second Nature.” Anchored in photojournalism but working against the grain of spectacle, Tillim portrays the communities, social landscapes and symbolic structures of societies altered by conflict. From explorations of modernist architecture—and its utopian ruins—in post-colonial Angola, Congo and Mozambique, to the homes and private lives of Johannesburg’s inner-city residents, Tillim’s work raises timely questions about the politics and representation of the built environment.

304 pages
26.5 × 23 cm
Steidl Verlag, 2015
ISBN 978-3-86930-649-0
Euro 45,00

In Joburg: Points of View the artist returns to the city which he last photographed a decade ago. At that time, Johannesburg offered a provocation to Tillim’s understanding of documentary photography and debates around representing a politically contested landscape. More recently, the artist has been increasingly interested in notions of judgment and control around image-making.

Of the new series, Tillim writes:

“In 2004 I spent four months in downtown Johannesburg. I saw the city then as a giant puzzle. My plan, to photograph small pieces at a time and put them together to create a portrait, soon seemed pointless in the face of the city’s infinite impulses that could not be contained in a manner of my liking. I couldn’t see everything and be everywhere. I realized that to suggest some kind of truth, it wouldn’t matter particularly where I was, but I’d have to let the place speak through me rather than trying to assign co-ordinates to a piece of puzzle. Of course the uncomfortable question then arose: who was I in this city, in this landscape?

It was this shift or realization, or sensation, that links the work then to the pictures I took in the city in 2013, setting me off on a journey to make landscapes that would attempt, as far as possible, to be without pointed judgment, on the grounds that my judgment or preconceptions of a landscape, of a mountain or a skyscraper, say, are irrelevant in the face of its immutability. The process of finding an answer would call for making pictures that are more like windows than mirrors or pale reflections. A window’s neutrality and its equitability would suggest intangible context; where the frame is no longer a tyranny, where it is an invitation to explore rather than state a claim. The frame cannot escape the question about what it can’t see and can’t know, but perhaps there’s a place where the question simply ceases to arise.”

28 diptychs pages
30,5 × 21,6 cm
Punctum Press, 2014
ISBN 978-88-95410-22-7
Euro 120,00

Landscape is the key theme of Peter Kuckei’s painting. However, he is not only concerned with its mimetic representation, but with the implementation of substantial concepts through abstracting formulations. Instead of reproducing directly visible phenomena, he draws and paints, with his own unique absoluteness, situations that evolve before his inner eye, transforming his apperceptions into visual events using artistic means.

This monograph provides a comprehensive insight into the oeuvre of this versatile artist, whose works allow plenty of scope for individual interpretations, enabling the viewer to become involved.

288 pages
24 × 29 cm
Kerber Verlag, 2014
ISBN 978-3-86678-998-2
Euro 54,00

A novel by Gerhard Winkler

941 pages
15 × 21 cm
Darling Publications, 2014
ISBN 978-3-945525-04-3
Euro 28,00

Ingmar Alge (*1971 in Höchst) is one of the most important Austrian artists of his generation. Precise observations of social realities and their contradictions are at the center of his artistic research. With a keen sense for the sociological, the artist explores society’s rejects and internal emptiness. He sheds light on the magical dimensions of loneliness and melancholy, focusing their existential forms and thus working within the tradition of Romantic painting. Although his paintings are based on photographs, he changes them by adding countless, finely glazed layers, or by intensifying colors or exaggerating the composition. As a result, it is not really reality that is visible, but instead, our imaginations are stimulated. This publication is the first to provide an overview of Alge’s oeuvre through large images, explanatory essays, and an index of works.

184 pages
23,6 x 28,8 cm
Hatje Cantz, 2013
ISBN 978-3-7757-3496-7
Euro 40,00

In her photo series, Barbara Probst (*1964 in Munich) not only plays with the changing perspectives and fleeting moments of urban life, she also poses fundamental questions about photography and imagery. Using a shutter release mechanism controlled by radio waves, the artist can use up to fourteen cameras to simultaneously shoot a scene from a distance and from numerous angles. Together, the various camera standpoints and framings as well as different objects and film material result in a series of views that are not bound by stylistic features, the same genre, or formal proximity. The images are held together only by the point in time at which the shutter was released. Yet the arrangement of the photographs is so sophisticated that it creates intriguing dramaturgies that make reference to a variety of different photographic genres.

240 pages
24,6 × 30 cm
Hatje Cantz, 2013
ISBN 978-3-7757-3711-1
Euro 39,80

Nikola Röthemeyer’s works negotiate the margins of many different styles. In the series »FrauenZimmer«, she initially devotes herself to the supposed reality of life for women, placing them in relation to their environment and present­ing aspects of their identity. When it comes to housework, home­- mak­ing or moments of quietude, she chooses scenes from genre painting. In a second part of her series, Nikola Röthemeyer expands her thematic palette, leaving the private sphere behind and moving into a kind magic realism, akin to the world propagated by the ­Argentine fabulist, Jorge Luis ­Borges. Be that as it may, the ­pe­culiarity of Nikola Röthemeyer’s work actually resides in the fact that it doesn’t charge this realism with a decidedly erotic momentum à la Balthus and Klossow­ski, but instead builds using transformative stylistic ­features, such as extreme focus, pictorial perspective, viewer’s ­perspective and format in the smallest shifts in reality and de­familiarization. A fine example graces the dust jacket of the book: the male peacock on the chair arm has let down his tail feathers, out of which the protagonist in the picture has woven a majestic train.

124 pages
18 × 14 cm
Snoek, 2012
ISBN 978-3-86442-022-1
Euro 24,80

In this book the acclaimed photographer of the series Avenue Patrice Lumumba travels to a Pacific paradise and South America to see beyond the standard postcard images.

In reading the accounts of the artists who accompanied Captain James Cook to French Polynesia, Guy Tillim was interested to note that among the captain’s crew was an artist who struggled with the problem of how to convey such an idyllic landscape. Addressing the same challenge, Tillim has created a beautiful, almost mesmerizing series of photographs from Polynesia as well as from Brazil that offer their own answers. Taken at face value, these images are at once gorgeous, subtle and rich in detail. Published in a large landscape format, this book contains highly nuanced images that represent some of the most sophisticated landscape and urban photographs of recent times.

112 pages
31,5 × 29,9 cm
Prestel Verlag, 2012
ISBN 978-3-7913-4690-8
Euro 60,00

Eine Woche Pauschalurlaub in T. – a Novel

128 pages
10 × 16,5 cm
Darling Publications, 2012
ISBN Hotel am Meer
Euro 12,00

Photographer Jörn Vanhöfen (*1961 in Dinslaken) travels the world to capture images of areas that are undergoing rapid change. They are always places where people believe wholeheartedly in permanent growth and limitless profit, for the consequences of this fatal attitude are the objects of his photographic work. Vanhöfen journeys to Africa, Europe, Asia, and North America, going wherever the results are demonstrably obvious—from the Chicago stock exchange, the townships of Cape Town, and the scorched forests in Apulia to abandoned factories in Detroit and salvage yards in his hometown in the Ruhr region. His unique, poetic photographs depict ruins of our time. And while they may be fascinatingly beautiful, the looming consequences of our actions at the same time horrify us.

148 pages
34,8 × 28,9 cm
Hatje Cantz, 2011
ISBN 978-3-7757-2975-8
Euro 58,00

Hlynur Hallsson is always “on the road.” The Icelander is a traveler between continents and cultures who, because of his interest in his fellow man, is always looking for contact and conversation with those around him. These meetings yield a wealth of snapshots that form the basis for his photo cycle “Myndir – Bilder – Pictures” from the years 2000 – 2005.

66 pages
16,5 × 24,7 cm
forlag höfundanna, 2011
ISBN 978-9979-9672-1-7

An Essay

64 pages
10 × 16,5 cm
Darling Publications, 2011
ISBN 978-3-941765-41-2
Euro 10,00

Photographies and Texts: 2006 – 2009

148 pages
21 × 14,6 cm
Darling Publications, 2010
ISBN 978-3-941765-15-3

Michael Laube (*1955 in Coburg) transgresses the boundaries of traditional painting in his own unique way, opening them up to different dimensions of space and time. Although the color in his acrylic glass objects and installations remains captured in the surface, it still seems dematerialized, disembodied, and never concretely localized. It becomes part of the surrounding space, woven into a dynamic, variable system of forces that is formed from light.

The refractions, reflections, and highlights of the painted acrylic glass sheets, which are often arranged in layers, transform space into a multidimensional event that can be described anew again and again as one walks past it, thereby ruling out any absolute perception of Laube’s works. They challenge the viewer to change perspective and do not conform to the definition of pure objectuality. This is the first comprehensive publication to present the Berlin-based artist’s oeuvre.

180 pages
24,8 × 32,6 cm
Hatje Cantz, 2009
ISBN 978-3-7757-2514-9
Euro 39,80

The pieces of paper confronting viewers of the series No-Form-System are folded or torn. In some places the folds are sharp and precise; in others they reveal the destructive process behind their making which, thus magnified, acquires an extraordinary presence. The gaze can follow closely along the torn or folded edges and discern the porous fibres. In combination with their respective structures, the striped segments of different colored pieces of paper make the surface dynamic, while typo- or pictographical fragments appear within the individual motifs. Here the gaze slows down of its own accord and is tempted to decipher the individual fragments – albeit in vain. Their information content remains encoded; the semantic allusions are cryptic and ultimately lead us nowhere. By contrast, the gaze speeds up in apprehending the works that consist entirely of colorful elements.

68 pages
30 × 23 cm
permanent Verlag, 2008
ISBN 978-3-938370-33-9
Euro 20,00

Guy Tillim’s earlier photographs documented war-torn Africa and the people whose lives have been shaped by years of conflict and hardship. In this book he focuses on the structures that dot the urban landscape of these troubled countries. The eighty images in this book from Angola, Mozambique, Madagascar, and the Democratic Republic of Congo reveal modern buildings constructed with illusions of prosperity and peace and then left to decay. This collection reflects the intuitive brilliance that is Guy Tillim’s hallmark, tells Africa’s story of failure and atrophy, and points to the intersection of present-day Africa with its colonial past in countries that were forsaken in the name of progress and the perpetual quest for power.

128 pages
33,5 × 24,8 cm
Prestel Verlag, 2008
ISBN 978-3-7913-4066-1
Euro 49,95

Landschaften 1993 – 2008 / With texts by Rajka Knipper and Gerhard Winkler.

64 pages
Darling Publications, 2008
ISBN 978-3-939130-78-9
Euro 24,00

In Barbara Probst’s series Exposures (2000-2006), she dissects the relationship between the photographic “moment” and perceived reality by showing a single action from numerous points of view. Probst arranges for multiple photographers to take pictures of the same subject from varying angles (and distances) at precisely the same moment. The multiple exposures are more than a meditation on the event being recorded — the images examine the act of reading photographs as documents of the actions or people they depict. While one may suggest voyeuristic qualities, another incorporates the slipshod framing of a snapshot, and another image may more closely resemble a runway shot of a model on the move. In this way, Probst’s sequences point out that the different ways we “direct” a photograph, by the position, settings, and film of the camera, can produce images with entirely disparate spheres of meaning. Published by Steidl and the Museum of Contemporary Photography, Barbara Probst’s book is the first publication of her Exposures series. The publication features an introduction by MoCP Curator and Associate Director Karen Irvine, an essay by co-author David Bates, and a conversation with the artist by Johannes Meinhardt.

108 pages
22,9 × 25,4 cm
Steidl Verlag, 2007
ISBN 978-3-86521-392-1
Euro 45,00

120 pages
26 × 21 cm
permanent Verlag, 2007
ISBN 978-3-938370-22-3
Euro 20,00

Photographies and Sculptures: 1998 – 2006

102 pages
21,6 × 28,4 cm
Darling Publications, 2006
ISBN 978-3-939130-10-9

The catalogue was published on occasion of Michael Laubes solo show at the Overbeck-Gesellschaft Lübeck.

36 pages
21 × 23 cm
Overbeck-Gesellschaft Lübeck, 2005

Overview of Matten Vogel´s works until 2005.

48 pages
23,5 × 17 cm
Kuckei + Kuckei, 2005
ISBN 3-936697-05-1

Texts by Ulrich Clewing and Dominik Wichmann

80 pages
24,5 × 30 cm
Neue Galerie Dachau, 2004
ISBN 3-930941-44-9

with a conversation between Christa Häusler and Ingmar Alge

69 pages
22,5 × 24,5 cm
Kuckei + Kuckei, 2001
Euro 20,00

Published after being awarded with the “Max-Pechstein-Förderpreis” from the City of Zwickau, Germany

16 pages
28 × 22,6 cm
Städtisches Museum Zwickau, 2001
ISBN 3-933282-13-6

book with texts by Oliver van den Berg and an essay by Raimar Stange

160 pages
20,5 × 13 cm
Vice Versa, 1999
ISBN 3-932809-14-9

Hlynur Hallsson received the Prize of the Kunstverein Hannover. This publication accompanied his subsequent exhibition at Kunstverein Hannover.

80 pages
16 × 12 cm
Kunstverein Hannover, 1999
ISBN 3-9805041-5-8

The catalogue was published on occasion of the project “Flags for Gehrden”.

31 pages
22,5 × 20 cm
Kunstverein Gehrden, 1998

Photographic works and Sculptures 1993 – 1998

40 pages
18,9 × 24,8 cm
Kuckei + Kuckei, 1998