Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Catalog of the eponymous exhibition, held at the Centre d’Art Contemporain Genève and curated by Andrea Bellini, this publication brings together a number of essays that explore the notion of metamorphosis from different perspectives. The catalog, like the exhibition, celebrates a world in constant transformation, where human nature is fluid and hybrid, open to change.
Ce catalogue de l’exposition éponyme, organisée au Centre d’Art Contemporain Genève sous la direction d’Andrea Bellini, rassemble plusieurs essais qui explorent la notion de métamorphose sous différentes perspectives. Le catalogue, comme l’exposition, célèbre un monde en constante transformation, où la nature humaine est fluide et hybride, ouverte au changement.
Fredrik Værslev: The Garden Paintings is the first publication dedicated solely to one specific body of work in the artist’s practice. It includes essays by Martha Kirszenbaum and Erlend Hammer, and gives a comprehensive and chronological account of the works from the series, showing their stylistic development as well as their exhibition history.
Between an artist’s book and a catalogue, this publication follows up on Armleder’s multidimensional exhibition at KANAL in 2020–21. Through archival pictures and in depth conversations, the book is designed to recreate the immersive experience of this collective experiment, and proposes a dive into something akin to a large self-portrait, conceived through the works of more than a hundred artists.
This artist’s book reflects Eva & Franco Mattes’ continued interest in the condition of displacement to be sensed in Fukushima. Borrowing the format of wrapping-paper catalogs, it contains twenty large pre-perforated sheets, each of which features a photographic texture—a seamlessly repeating motif captured by the camera amid the radioactive ruins of the contaminated towns and countryside.
The album brings together the music composed by Federico Chiari for various film and video works by Diego Marcon, including Monelle (2017), Ludwig (2018), The Parents’ Room (2021), and Dolle (2023). The album comes with a booklet containing lyrics and images that provide a deeper insight into this unique, profoundly intertwined collaboration between Chiari and Marcon.
Edited by Andrea Bellini and Nora N. Khan
Texts by Basel Abbas & Ruanne Abou-Rahme, Andrea Bellini, Danielle Brathwaite-Shirley, Giacomo Castagnola, Sheila Chiamaka Chukwulozie, Cairo Clarke, Tamar Clarke-Brown, Hajra Haider Karrar, Aziz Hazara, Nasrin Himada, Interspecifics, Will Jennings, Nora N. Khan, Michael Kurtz, Lauren Lee McCarthy, Luc Meier, Margarida Mendes, Harlan Levey, Shuang Li, Alessandro Rabottini, Sahej Rahal, Francesca Recchia, Elvia Wilk
Designed by Lorenzo Mason Studio
2026, English, softcover, 24 x 29 cm, 272 pages
ISBN 979-12-80579-87-4
Curated by Nora N. Khan and Andrea Bellini, the 18th edition of the Biennale de l’Image en Mouvement 2024 (BIM’24), produced and hosted by the Centre d’Art Contemporain Genève from January 24 to May 16, 2024, is titled A Cosmic Movie Camera. This title draws inspiration from the discovery by astrophysicists of a ring of photons around a black hole, which potentially represents the visible medium through which humanity could deepen its understanding of the interior of black holes—the epitome of the unknown.
The exhibition presented works, specifically commissioned for the occasion, by Basel Abbas & Ruanne Abou-Rahme, alfatih, American Artist, Danielle Brathwaite-Shirley, Sheila Chiamaka Chukwulozie, Formafantasma, Aziz Hazara, Interspecifics, Lawrence Lek, Shuang Li, Diego Marcon, Lauren Lee McCarthy, Sahej Rahal, Jenna Sutela, Emmanuel Van der Auwera, and an exhibition display conceived by Giacomo Castagnola. The works on show explore the concepts of the invisible and the unknown, as expressed through aesthetics, the use of technology, and a wide variety of sensibilities.
The catalogue documenting the exhibition was conceived as a “binder” of the future, as indicated by the holes that run through the publication, from front to back. The book collects various types of texts relating to the artists participating in the Biennale—reviews, essays, interviews, poems, emails, and texts written for the occasion—with a view to creating a paper archive that may preserve the memory of the project in a dystopian future: inside a spaceship or in the building of the Centre d’Art Contemporain Genève, transformed in the distant future.
The visual essay that projects the works into a virtual context was designed by EPOCH, who also created the website hosting the ongoing virtual exhibition (bim24.ch). The catalogue’s combination of print and digital formats, the real and the virtual, the past and the future, conveys the conceptual core of the Biennale, which explores the inextricable intertwining of AI, digital culture, and art in the contemporary world.
Photos: Nicola Gnesi