Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
The future of architecture lies in the curatorial approach. This is the thesis put forward by architect Wilfried Kuehn and theorist Dubravka Sekulić in their book, which brings together contributions from more than 30 authors working in the fields of architecture, art, and curatorial knowledge and practice.
Emanuele Coccia describes the radical creative freedom inscribed in Ernesto Neto’s practice, analyzing the workings of the Brazilian artist’s pieces of living architecture. Art on Earth is the third book in a series of short essay collections inspired by the site-specific projects conceived for GAMeC at Palazzo della Ragione.
First Meeting is the first monograph on Argentinian artist Santiago de Paoli. From his early, experimental projects to his most recent explorations, the book delves into his innovative approach of painting on unconventional materials. The book features commissioned essays by Fernanda Brenner and Mariano Mayer, as well as a conversation between Christian Rattemeyer and the artist.
Infinite Memory is Caroline Poggi and Jonathan Vinel’s first monograph, co-published with Fondation Cartier pour l’art contemporain and Lenz. Like a memory card, the book stores information about a selection of films from the initial decade of the artists’ practice. Considered as an object, much like a piece of hardware that stores digital memory, the book offers the possibility to scroll infinitely, with no beginning or end.
Through the words of the sound artist and theorist Brandon LaBelle, the book explores the social and relational component of sound that gave rise to Benevolence, the site-specific project by Sonia Boyce. The Joy of Cacophony is the second book in a series of essay collections inspired by the site-specific projects conceived for GAMeC at Palazzo della Ragione.
Consisting of a richly illustrated booklet and a record vinyl, this special release accompanies the performative sound-based project A Comparative Dialogue Act by artists Andrea Mancini and the collective Every Island, hosted in the Luxembourg Pavilion at the 60th Venice Biennale.
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).