Through exquisite craftsmanship, and with reference to romantic nationalism, Ann Böttcher explores how aesthetic and political projections characterize notions of nature, and how such conceptions are taken up by countries, political movements, and other institutions.
Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
When she started writing the Corona Tales, Chus Martínez had been weighing how people and the media were addressing the outbreak of the virus as an unprecedented disaster. One possible contribution, as curator and writer, would be to write a short story a day…
Oh mio cagnetto, is the artist’s first book of writings, conceived as an artwork. It is a collection of 81 little poems that revolve around the missed and mourned figure of a puppy. It intentionally plays on the ambiguity of its nature, as both a book distributed in conventional ways and an art object.
Over the last ten years, Raphael Hefti has created an astonishingly body of work consisting of sculptures and installations, performance and “art-in-public-spaces.” The first comprehensive monograph is published on the occasion of his major exhibition at Kunsthalle Basel.
A new series of books is being developed with the Swiss Institute, New York.
In March 2021, Nairy Baghramian will present Misfits, a project produced by Fondazione Furla for the neoclassical GAM in Milan. Lenz is working with Baghramian on a new book.
The book deals with Diego Marcon’s practice through the analysis of three film and video works. Monelle (2017), Ludwig (2018), and The Parents’ Room (2020) are his most recent and complex projects, and they are all emblematic of central aspects of his production.
Between 1998 and 1999, the London-based art collective BANK operated The BANK Fax-Bak Service. The group’s members proof-read and copy-edited more than 300 press releases by galleries. The publication is the most comprehensive record of this notorious project.
In the Villa Santo Sospir, Jean Cocteau conceived his intervention through accumulation. Inspired by Greek mythology and the Mediterranean landscape, this late pictorial work, resolutely anti-modern, has long been ignored or vilified by historians. In his photographs taken at Santo Sospir, Brazilian artist Mauro Restiffe explores how every side of the the site is imbued with life, all the more so in the unobserved details and even when no one is framed.