Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
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.
This small anthology reviews some of the central themes of Diego Marcon’s research: from the role of the display in exhibitions to his relationship with cinema, from the use of special effects and animatronics to the sense of community established through his work. Glassa accompanies the exhibition of the same name designed by the artist for the spaces of the Centro per l’arte contemporanea Luigi Pecci in Prato.
Edited by Alexie Glass-Kantor and Michelle Newton
Texts by Kate Crawford, Branden W. Joseph, Alexie Glass-Kantor, Chus Martínez, Thurston Moore, Stephen O’Malley, Elizabeth Povinelli and Bruce Russell
Designed by by Žiga Testen and Marco Fusinato
Co-published with the Australia Council for the Arts
2022, English, softcover, 21 x 28 cm, 408 pages
ISBN 978-0-646-85617-9
DESASTRES is an experimental noise project that synchronises sound with image and takes the form of a durational solo performance as installation. Marco Fusinato is performing live in the Australia Pavilion for the duration of the 59th International Art Exhibition La Biennale di Venezia. He uses an electric guitar as a signal generator into mass amplification to improvise slabs of noise, saturated feedback and discordant intensities that trigger a deluge of images onto a freestanding floor-to-ceiling LED wall. The images are sourced via a stream of words that have been put into an open search across multiple online platforms. There is no theme as such, rather the immersion of sound and image is open for the audience to interpret and make sense of. The intent is to create some kind of hallucination, elation in disorientation and exhaustion from confusion. The work is an invitation for audiences to come together within a high-intensity concentration of energy. What can’t be seen, can be felt: sound as physical matter which creates a transformative experience.
This expansive publication features a new essay by Branden W. Joseph, professor of art history at Columbia University and an extensive interview by curator Alexie Glass-Kantor with Marco Fusinato. It also includes texts by critical theorist and filmmaker Elizabeth Povinelli, AI researcher and author Kate Crawford, writer and curator Chus Martínez, and musicians/outre-guitarists Thurston Moore (Sonic Youth), Stephen O’Malley (SUNN O)))) and Bruce Russell (Dead C).
Marco Fusinato is a contemporary artist and noise-musician whose work takes the form of installation, photographic reproduction, design, performance and recording. Fusinato’s work has been presented in many international exhibitions, including All the World’s Futures, 56th International Art Exhibition of La Biennale di Venezia (2015); The Imminence of Poetics, 30th Sao Paulo Biennale (2012); SUPERPOSITION: Art of Equilibrium and Engagement, 21st Biennale of Sydney (2018); and Australia: Antipodean Stories, Padiglione d’Arte Contemporanea, Milan (2019). His work was also included in Soundings: A Contemporary Score, the first ever exhibition of sound at the Museum of Modern Art, New York (2013) and Sonic Youth etc.: Sensational Fix (2008–10), a European travelling exhibition of artists that have collaborated with the New York rock band, Sonic Youth.
Alexie Glass-Kantor is a curator, advocate for the arts, and the Executive Director of Artspace, Sydney. Since 2014 she has led the opportunity for co-curated and artist-led projects with peer institutions in fourteen countries, including: Jonathan Jones, untitled (transcriptions of country), Palais de Tokyo, (2021); 경로를 재탐색합니다 UN/LEARNING AUSTRALIA, Seoul Museum of Art (2021); Taloi Havini, Reclamation, Dhaka Art Summit (2020); Mel O’Callaghan, Centre of the Centre, UQ Art Museum (2020) and Le Confort Moderne (2019); Angelica Mesiti, Relay League, Art Sonje, Seoul (2019), and Kunsthalle Tbilisi, Georgia (2018); Helen Johnson, Institute for Contemporary Art (ICA), London (2017); and Nicholas Mangan, Ancient Lights, Chisenhale Gallery, London (2015).