Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Over the last ten years, Raphael Hefti has created an astonishingly body of work consisting of sculptures and installations, performance and “art-in-public-spaces.” The first comprehensive monograph is published on the occasion of his major exhibition at Kunsthalle Basel.
Between 1998 and 1999, the London-based art collective BANK operated the Fax-Bak Service. The group’s members proof-read and copy-edited more than 300 press releases by galleries. The publication is the most comprehensive record of this notorious project.
In the Villa Santo Sospir, Jean Cocteau conceived his pictorial work through accumulation, inspired by Greek mythology and the Mediterranean landscape. Architecture permeates the subjects of Mauro Restiffe from a viewpoint that amplifies and reverberates the simple historical record.
Oh mio cagnetto, is the artist’s first book of writings, conceived as an artwork. It is a collection of 81 little poems that revolve around the missed and mourned figure of a puppy. It intentionally plays on the ambiguity of its nature, as both a book distributed in conventional ways and an art object.
When she started writing the Corona Tales, Chus Martínez had been weighing how people and the media were addressing the outbreak of the virus as an unprecedented disaster. One possible contribution, as curator and writer, would be to write a short story a day…
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