Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Lam-See Lam’s storytelling develops through text, animations, and sculptural installations. Her multifaceted stories explore the narrative of the Cantonese diaspora in Sweden and examine questions of cultural identity.
A richly illustrated publication accompanying the experimental noise project as durational solo performance by Marco Fusinato for the Australia Pavilion at the 59th International Art Exhibition La Biennale di Venezia.
This catalogue explores some of the pivotal themes of the artist’s research, from her interest in crossing and redefining the border between interior and exterior to the relationship between the aesthetic object and its institutional context.
Published in conjunction with a solo exhibition at Kunst Museum Winterthur, this book provides the first overview of Altmann’s work to date, characterized by a strongly socio-critical consciousness, and reveals the artist’s influences and inspirations.
The first monograph dedicated to Paloma Bosquê addresses the Brazilian artist’s ways of understanding and giving shape to that matter which can be perceived, but not rationalized.
The first book on London based artist Gili Tal, whose practice identifies how the digital has long become a reality that has subjected our habits of perception to a radical change.
Edited by Fabian Schöneich
Texts by Lawrence Abu Hamdan, Natasha Ginwala, Ruba Katrib, Andrea Lissoni, Ramona Naddaff,
Fabian Schöneich, Yasmine Seale, Theodor Ringborg, Eyal Weizman
Designed by David Bennewith
Co-published with Bonnier Konsthall
2022, English, hardcover, 19 x 25 cm, 256 pages
ISBN 979-12-80579-08-9
Richly illustrated, this book provides for the first time a visual overview of Lawrence Abu Hamdan’s works of more than a decade, and elaborates on a formal vocabulary characterized by the aesthetics of sound and language. Published on the occasion of his exhibition at Bonniers Konsthall in Stockholm, a group of authors have been invited to engage with individual works and their underlying concepts. Abu Hamdan recognizes the space for art as a site where attention can be drawn to real socio-political conditions in order to challenge the structures behind them. The artist can therefore push at the boundaries of what constitutes testimony. The title “Dirty Evidence” comes from Abu Hamdan’s definition of evidence in which a truth value is derived from its very inadmissibility before the law. It is precisely the evidence’s figurative dirt and dirtiness that works toward the production of truth.
Ph: Diana Pfammatter