Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
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addition to a number of essays, which offer an in-depth look at his multifaceted practice, the book contains previously unpublished photos that reveal his working process.
The paintings and drawings by Jake Grewal draw the viewer in through stillness and ambiguity: they invite reflection on how we inhabit places—physically and emotionally—and how our inner landscapes mirror the physical world. This is the Grewal’s first book, published to accompany the artist’s exhibition at Studio Voltaire.
The transformation of the notion of monuments and the way cultural institutions choose to deal with it find in Maurizio Cattelan an interpreter capable of manipulating historical memory and shared symbols, to the point of turning them into a terrain of doubt and play. Lisa Parola and Lorenzo Giusti investigate the potential of contemporary art within the public sphere.
This is a visual archive of 12 years of developing, designing and exhibiting the House of One, a multireligious sacred space in the heart of Berlin. The architecture, conceived by Kuehn Malvezzi, has been displayed at various venues while being developed in close collaboration with three local religious communities in Berlin since 2012.
The first major monograph on artist Jill Mulleady, whose paintings thread motifs of decay, memory, history, and private myth, featuring humans and animals enacting their instinctive psychological reactions to ever-present threats of danger.
Edited by Edoardo Bonaspetti
Commissioning Editors: Maria Sica (director, IIC Tel Aviv) and Nicola Trezzi (director and curator,
CCA Tel Aviv-Yafo)
Design Lorenzo Mason Studio
2023, English, softcover, 21 x 30 cm, twenty 60 × 40 cm sheets of wrapping paper
ISBN: 979-12-80579-26-3
On March 11, 2011, the most powerful earthquake ever to hit Japan created a tsunami that laid waste to the country’s east coast, causing a catastrophic breach at the Fukushima Daiichi Nuclear Power Plant. Since then, access to the contaminated towns and surrounding countryside has been mostly limited to scientists and specialized decontamination crews. The project Don’t Follow the Wind (2015–ongoing)—organized by the Tokyo-based art collective Chim↑Pom from Smappa!Group, together with Kenji Kubota, Jason Waite, and Eva & Franco Mattes—marked a historic exception: a group of artists entered the exclusion zone to produce a series of site-specific works. Installed in several venues on loan from former residents, these interventions comprise an exhibition that will remain unreachable in person for many years to come, until it will finally be deemed safe to return.
Fukushima Texture Pack is an artistic record of Eva & Franco Mattes’ engagement with this contaminated landscape. Borrowing the format of books of wrapping paper, it contains twenty large pre-perforated sheets. Each features a visual texture, a surface captured on camera amid radioactive ruins. All such patterns afford a seamless repeating motif, should they be installed in a tile formation as wallpaper. They comprise a representative sample of the 152 textures the artists first released online as freehold digital files. The pages of this book may be used freely to cover other books, decorate boxes, wrap gifts, form origami, or they may be framed as small works of art.
This artist’s book extends Eva & Franco Mattes’ interest in Fukushima’s geographical displacement. Following its radioactive ungrounding, this location is now most accessible through its representation. But images are given to obscuring the matter at hand—to wrapping it up, so to speak, in a reduced form. The tragic proportions of the Fukushima meltdown outstrip virtually all frames. With this in mind, how can one maintain awareness of this nuclear disaster? How might we live with the facts?
The textures—sampling walls and floors, rust, bricks, gravel, underbrush, tatami mats, dirt, desks, closets, and more—are unspectacular by design. Eschewing the gnarled automobiles, collapsed buildings, and other wrecks left in the wake of the tsunami, the visual banality of these posters speak to an invisible crisis. Additionally, their modular, tessellating design allows for the limitless spread of a given motif. As possible wallpaper, they evoke the new baselines of background radiation, omnipresent in and around the exclusion zone—a new surface condition.
The publication is supported by Istituto Italiano di Cultura Tel Aviv in collaboration with CCA Tel Aviv-Yafo.
