Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
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addition to a number of essays, which offer an in-depth look at his multifaceted practice, the book contains previously unpublished photos that reveal his working process.
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.
Edited by Béatrice Grenier
Texts by Philippe Azoury, Alenda Y. Chang, Béatrice Grenier, Ingrid Luquet-gad,
Caroline Poggi and Jonathan Vinel
Co-published by Fondation Cartier pour l’art contemporain
Designed by Lorenzo Mason Studio
2024, English, 16.8 x 24 cm, 274 pages
ISBN 979-12-80579-66-9
The book is the first monograph of the work of Caroline Poggi and Jonathan Vinel, published in conjunction with the release of the duo’s second feature-length film, titled Eat the Night . Formal experimentation characterises the work of emerging French film-making duo Poggi & Vinel, who employ the languages of video games, archives, and film-making to hybridise genres and break aesthetic conventions. There is ambiguity over the register within which the duo’s work should be situated: is it film, musical score, game or animation?
Edited by Béatrice Grenier, considered as an object the book is a formulation of an archive or a record of the duo’s work, encompassing the variety of mediums with which Poggi & Vinel engage, in addition to the overarching question of memory as explored in their practice. Three essays by Alenda Y. Chang, Béatrice Grenier and Ingrid Luquet-gad offer in-depth analyses of the ways in which the work of the duo constitutes a form of preservation through the use and reuse of video-game imagery. Identifying key works and turning points, the book provides a commentary on their particular, ambiguous positioning, somewhere between cinema-video and practice-gaming, and helps to explain why this positioning is critical vis-à-vis contemporary art today. In an interview with Philippe Azoury, the film-makers reflect on the role of community-building both within and outside their films, considering specifically the relationship between the digital characters and the ’real’ characters, and the importance of gaming in acknowledging and understanding other subjectivities.
Each film selected for the book is transformed into a photo essay, calling into question the nature of the image—the significance it has when moving or still. Spiral-bound, the book is punctuated by an infinity of potential covers: the object itself has no beginning or end. One can pick off where one left off, or enter the narrative at any point—a formal attempt to transcend the nature of the age-old medium.
Photos: Lorenzo Mason Studio