Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
The book is the first comprehensive monograph on the polymorphous work of Athanasios Argianas. It is published on the occasion of Hollowed Water, a major solo exhibition at Camden Arts Centre in 2020 and ARCH, Athens, in 2021.
Through exquisite craftsmanship, and with reference to romantic nationalism, Ann Böttcher explores how aesthetic and political projections characterize notions of nature, and how such conceptions are taken up by countries, political movements, and other institutions.
Voices (Towards Other Institutions) is the final act of the coral, multiform, articulated, two-year-long experiment carried out by Open, the Russian Federation Pavilion at the 17th International Architecture Exhibition.
The book deals with Diego Marcon’s practice through the analysis of three film and video works. Monelle (2017), Ludwig (2018), and The Parents’ Room (2020) are his most recent and complex projects, and they are all emblematic of central aspects of his production.
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.
Edited by Alison Coplan, Laura McLean-Ferris.
Introduction by Simon Castets. Texts by Annie Godfrey Larmon, Philipp Ekardt, Anna-Sophie Berger.
Design by Pacific
Hardcover, 152 pages, 20 x 28 cm
ISBN: 979-12-80579-09-6
The gallery becomes a mouth. It has four pointy teeth and is an aged, even sickly, shade of off-white. The teeth are walls, and on them hang artworks Anna-Sophie Berger selected for the exhibition life and limbs, Swiss Institute’s fourth installment of its Architecture and Design Series. Berger’s premise for the show considered the body an experimental testing ground for design, a living site that is both vulnerable and resilient. As the title implies, life and limbs exists in a world where the human body, unadorned, is at risk and often confronts threat with dark and knowing humor but also with grace. Across these works, which draw from speculative architectures, Surrealism, late twentieth-century fashion design, and Viennese Actionism, among many other subsects of modern visual culture, Berger’s singular understanding of corporeal awareness unfolds. In the clutches of this jaw, bodies find ways to disappear, though some stretch, reach, and metamorphosize in attempts to escape themselves. This book is a means to further explore Berger’s thesis. Three remarkable essays, by Annie Godfrey Larmon, Philipp Ekardt and Berger herself, ponder the works that populate this wunderkammer and question design’s transformative potential.
