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464 pages, 142 four-color images,
32 black and white images & illustrations
Imagined as a sequel to the Old and New Testaments of the Bible, The Last Testament features visual accounts and stories of seven men around the world who claim to be the Second Coming of Jesus Christ. Building on biblical form and structure, chapters dedicated to each Jesus include excerpts of their scriptural testaments, laying out their theology and demands on mankind in their own words. Jonas Bendiksen takes at face value that each one is the true Messiah returned to Earth, to forge an account that is a work of apocalyptic journalism and compelling artistic imagination.
Jonas Bendiksen (born in Tønsberg, Norway, 1977) began his career at the age of nineteen as an intern at Magnum Photos’ London office. His first book, Satellites (Aperture, 2006) was followed up with The Places We Live (Aperture, 2008). Bendiksen’s awards include an International Center of Photography Infinity Award, 2003; Telenor International Culture Prize, 2008; and several World Press Photo and Pictures of the Year awards. His work has been widely published by GEO, the Sunday Times Magazine, and National Geographic magazine. He has been a member of Magnum Photos since 2004.
FIRST EDITION Trade Hardcover, 17 x 23 cm portrait, 216 pages Section-sewn binding; mixed art papers; endpaper fold-out; silver foil on linen-wrapped cover, back + spine; silver and ‘glow in the dark’ special inks; bookmark ribbon 93 colour and b+w photographs; 3 interior illustrations; 25 storybook (text) pages Published 24 May 2018 | ISBN: 9780994791955
ISBN 978-84-451-3707-9Consejería de Cultura, Turismo y Deportes de la Comunidad de Madrid, 2018Design: Natalia Troitiño (N2 Estudio)Texts: Horacio Fernández, Sonia Berger, Luis López NavarroPrepress: La TroupeHardcover13,6 x 18 cm340 pagesEdition: Spanish/English
Flexicover8.2 × 12.5 in228 pages + 2 foldouts64 imagesDesign: Estudio HerreraTrilingual edition (English/Spanish/French) In the course of his travels in Mexico over the last thirty years, Antoine d’Agata has extracted the hair-raising material from which he now constructs this tense, immobile diary.