Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
A Cosmic Movie Camera is the title of the 18th edition of the BIM’24, which also marks the 50th anniversary of the Biennale organized by the Centre d’Art Contemporain Genève. By blending the real and the virtual, its catalogue captures the spirit of the exhibition, which explores the evolution of moving images, particularly in our algorithmic age.
The book seeks to define the contours of the obsession with the teenage years; a fixation that has shaped a significant strand of contemporary art over the last ten years. Adolescence is here understood as a state of mind, a prolonged condition that dissolves the transition into adulthood and becomes a critique of an unstable world.
In this multi-voiced book, starting from the Orobie Alpine range, the mountainside becomes an epistemological lens through which to interpret contemporaneity and address issues such as multi-species migrations, our relationship with geological time and intergenerational inheritance, and the rethinking of collective memories and rituals.
For years now, the Die Vier von der Tankstelle (Four from the Gas Station) have been roaming across an area stretching out to the south of the Baltic Sea. They prowl their way through sparsely populated areas, wantonly terrorizing the inhabitants. The 2026 calendar by Jos de Gruyter and Harald Thys bears witness to their presence.
The first monograph dedicated to Lorenza Longhi, published with the Kunst Museum Winterthur, adopts a format associated with prototypes, manuals, or working documents. Its irregularities reflect Longhi’s ongoing examination of value, functionality, and the aesthetics of the everyday.
This publication is an extensive monograph devoted to the work of Carlos Bunga, published in conjunction with his eponymous show at CAM – Gulbenkian. In addition to a number of essays, which offer an in-depth look at his multifaceted practice, the book contains previously unpublished photos that reveal his working process.
Edited by Alessandro Rabottini and Leonardo Bigazzi with Bianca Stoppani
Authors: Cecilia Alemani, Erika Balsom, Étienne Bernard, Leonardo Bigazzi, Ali Cherri, Lorenzo Giusti, Stefanie Hessler, Priyesh Mistry, Alessandro Rabottini, and Stefan Tarnowski
Design by Lorenzo Mason Studio
2024, English, softcover, 21 x 28 cm, 192 pages
ISBN: 979-12-80579-46-1
The publication is the first institutional monograph on the multimedia practice of artist and director Ali Cherri. It aims to highlight the constellation of ideas, themes, and formal concerns running through his most recent, highly significant projects.
Edited by Alessandro Rabottini and Leonardo Bigazzi, with Bianca Stoppani, this book provides an overview of the artist’s output over the past three years, teasing out both new strands for interpretation and formal links between his films, videos, sculptures, drawings, and installations.
Originated by Fondazione In Between Art Film on the occasion of Dreamless Night—a comprehensive solo exhibition first staged at GAMeC in Bergamo, and later at Frac Bretagne in Rennes—the book showcases a number of newly commissioned essays that reflect upon Cherri’s most recent exhibition projects. Starting with the documenting of Dreamless Night, the book also covers Humble and quiet and soothing as mud, the 2023 exhibition at Swiss Institute in New York; his participation at Biennale Arte 2022 in Venice; and If you prick us, do we not bleed?, the exhibition held at the National Gallery in London following his residency at the museum in 2021. Each exhibition is also extensively illustrated by a visual essay conceived by the artist, encompassing not only the installation views but also images charting the development and production stages.
The book features a wide-ranging conversation between the artist, GAMeC director Lorenzo Giusti, and Étienne Bernard, director of Frac Bretagne, as well as essays by Alessandro Rabottini and Leonardo Bigazzi, curators of the exhibition Dreamless Night at GAMeC, and at Frac Bretagne; Cecilia Alemani, who curated the exhibition The Milk of Dreams for Biennale Arte 2022; Stefanie Hessler, director of Swiss Institute in New York; Priyesh Mistry, Associate Curator of Modern and Contemporary Projects at the National Gallery, London; Erika Balsom, Reader in Film Studies at King’s College, London; and Stefan Tarnowski, Early-Career Research Fellow in AMES and Social Anthropology at Corpus Christi College, University of Cambridge.
This publication was made possible thanks to the support of Galerie Imane Farès.
Photos: Giacomo Bianco