Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Since the 1980s, Belgian artist Sigefride Bruna Hauman has created a highly original body of work in different media. Her installations, reliefs and videos are the subject of a much-overdue retrospective organized by M Leuven—and of this first monograph.
Rituals of Care is an extensive monograph devoted to the work of Antonio Obá, published in conjunction with his eponymous exhibition presented at the Centre d’Art Contemporain Genève, curated by Andrea Bellini. Extensively illustrated, the book immerses the reader in Obá’s multifaceted oeuvre and in the magical iconographic universe of his paintings.
Claiming that the museum is not enough means asking what a museum should be and do, eventually questioning the role of cultural institutions in society. Through conversations, stills of documentaries, responses, and reprints of archival documents that explore ideas of architecture on the ground, this volume reflects on the tools deployed by the institution to redefine its relationship to others.
Affirmer que le musée ne suffit pas, c’est interroger ce qu’un musée devrait être et faire, et réfléchir de manière critique sur le rôle des institutions culturelles dans nos sociétés. À travers des conversations, des photogrammes de documentaires, des interventions et des reproductions d’archives questionnant les conceptions de l’architecture sur le terrain, ce volume réfléchit aux outils mis en œuvre par l’institution pour redéfinir sa relation aux autres.
Semi-Nomadic Debt-Ridden Bedouins is the first monograph on the work of the Palestinian artist and filmmaker Basma al-Sharif. Spanning nearly two decades of moving-image and installation work, it combines visual documentation with texts that reflect on the charged political landscapes through which al-Sharif navigates.
This monograph marks the occasion of the first European survey of Nicola L. (1932–2018). Often discussed in the context of Pop Art, activism, feminism, and design, this is the first in-depth exploration of the multi-layered and expansive nature of her extraordinary practice, which also encompassed cosmology, environmental concerns, spirituality, political protest, and sexuality.
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