Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Pardon Façade documents the artistic output of Luca Monterastelli, showcasing almost all of the sculptures and installations that he produced between 2011 and 2022. Across four chapters—corresponding to four solo shows that he staged in Milan, Otegem, Antwerp, and Naples—the publication provides the first overview of the artist’s work.
More than half a century after its premiere, Yvonne Rainer, in collaboration with choreographer and dancer Emily Coates, directed the 2019 revival of her 1965 performance Parts of Some Sextets. This book poses questions about the trajectories of artworks, performers, and audiences, all while tracing the life—and afterlife—of a dance.
How does technology organize life? This book documents and reflects on the exhibition Proof of Stake: Technological Claims at Kunstverein in Hamburg, curated by Simon Denny and Bettina Steinbrügge. It brings together a unique group of artists and scholars who investigate the technological apparatuses and power relations of organized life.
This artist’s first monograph brings together sketches, documentation and installation shots, as well as an in-depth analysis of her practice. It highlights her process of making art, from the conception of an idea to the finished work, and from the deconstruction and re-assembling of her characters’ identities to the relentless creation of new worlds.
Published on the occasion of the first exhibition in Italy by Jenna Gribbon, staged at the Collezione Maramotti, Mirages showcases a wealth of images that highlight the fluid, sensual output of this artist who, in repeatedly portraying her wife, the musician Mackenzie Scott (aka TORRES), explores the implications inherent in seeing and being seen.
The catalogue of this ambitious project, held at the Centre d’Art Contemporain Genève in 2017, reflects on the centrality of writing in contemporary visual art practices. Documenting its slippages from printed matters to the digital realm, from voice modulations to its sculptural presence, this book celebrates the word in all its forms.
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