Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
This artist’s first monograph brings together sketches, documentation and installation shots, as well as an in-depth analysis of her practice. It highlights her process of making art, from the conception of an idea to the finished work, and from the deconstruction and re-assembling of her characters’ identities to the relentless creation of new worlds.
Published on the occasion of the first exhibition in Italy by Jenna Gribbon, staged at the Collezione Maramotti, Mirages showcases a wealth of images that highlight the fluid, sensual output of this artist who, in repeatedly portraying her wife, the musician Mackenzie Scott (aka TORRES), explores the implications inherent in seeing and being seen.
The catalogue of this ambitious project, held at the Centre d’Art Contemporain Genève in 2017, reflects on the centrality of writing in contemporary visual art practices. Documenting its slippages from printed matters to the digital realm, from voice modulations to its sculptural presence, this book celebrates the word in all its forms.
A book emerged from the need to try to tell the story of architecture in a way quite unlike how it’s usually told, in a continuous dialogue between the anthropological gaze of Armin Linke’s photos compared with the ideation process of two public works by the Carlana Mezzalira Pentimalli architecture office.
The book documents and brings together two exhibition projects by Nina Canell and Maria Hassabi. Essays, unpublished materials and a rich set of photographic materials form the driving force behind two visual narratives that offer new keys to understanding the research of the two artists.
Can art, literature, filmmaking, and music draw out, make visible, legible, audible, or even contestable the patterns in which our lives are held? Considering the work by Stan Douglas, Harun Farocki, Ingri Fiksdal, Åke Hodell, Stefan Panhans & Andrea Winkler, Susan Philipsz, and Elizabeth Price, this publication entertains this question.
Edited by Carla Subrizi, Paola Ugolini, and Maria Alicata
Texts by Maria Alicata, Lucia Aspesi, Silvia Bottinelli, Lara Conte, Flavia Frigeri, Francesca Gallo, Sharon Hecker, Laura Iamurri, Caterina Iaquinta, Teresa Kittler, Jennifer Malvezzi, Iolanda Ratti, Giulia Kimberly Colombo, Carla Subrizi, Paola Ugolini, Valentine Umansky, Giovanna Zapperi
Designed by Lorenzo Mason Studio
2026, English, softcover, 13 x 21 cm, 504 pages
ISBN 979-12-80579-93-5
A project by Fondazione In Between Art Film, edited by Carla Subrizi, Paola Ugolini, and Maria Alicata, this illustrated volume investigates the cinematic, documentary, and video output of women artists and filmmakers operating in Italy in the 1960s and 1970s, situating their research at the intersection of artistic experimentation, politics, society, and technology.
With 18 newly commissioned essays about artists and filmmakers Valentina Berardinone, Anna Valeria Borsari, Pia Epremian, Giosetta Fioroni, Rosa Foschi, Laura Grisi, Ketty La Rocca, Le Nemesiache, Cecilia Mangini, Federica Marangoni, Marisa Merz, Gina Pane, Marinella Pirelli, and Angela Ricci Lucchi, it charts a captivating, multifaceted period, the elements of which have now been compiled for the first time in this publication.
Each chapter, which is accompanied by illustrations and previously unpublished archival documents, analyzes a series of moving-image works as well as the personalities of pioneering (and on occasion non-professional) female directors and artists involved, who embraced the camera as a medium for investigation, documentation, and critique. In their efforts to construct a form of agency for visual imagery, they fostered new narratives, leaving in their wake a plethora of stories and visual strategies that remain vital and worthy of re-examination today.
The contributions of academics, researchers, and art historians such as Maria Alicata, Lucia Aspesi, Silvia Bottinelli, Lara Conte, Flavia Frigeri, Francesca Gallo, Sharon Hecker, Teresa Kittler, Caterina Iaquinta, Laura Iamurri, Jennifer Malvezzi, Iolanda Ratti with Giulia Kimberly Colombo, Carla Subrizi, Paola Ugolini, Valentine Umansky, and Giovanna Zapperi problematize the two decades under examination, which panned out in parallel with the protest movements, and navigate a phase of Italian history, art, and culture that was shot through with changes and transformations, in part arising from the women who decided to take back control—of themselves, even before they reached for a film camera. Therefore, they endeavor to glean an understanding of the transformations of language, subjectivity, identity, ways of seeing, and imaginaries through what women filmmakers described, documented, recorded, and wrote. At the same time, the book constructs an Italian history of this cinematic output in order to then understand how specific, identity-forging visions can be expanded or connected within a broader story, composed of cultural differences and urges that enter into a transnational dialogue. To this end, the book also includes a specially conceived timeline of the main socio-political events that occurred and the most important moving-image works that were produced over the two decades under consideration.
Photos: Giacomo Bianco