Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Through a rich selection of images, this artist’s book, published in two editions—gold and silver—explores the birth, life and death of Francesco Gennari’s work Vorrei perdermi e non trovarmi più, 2022, exhibited for the first time at the Ciaccia Levi Gallery in Paris.
This richly illustrated publication combines artwork, archival and process imagery, and includes an extended interview with the artist, as well as new essays by key thinkers in the fields of anthropology, philosophy, political economy and art history.
In the first monograph on the feminist conceptual artist collective Claire Fontaine, political theorist and somatic practitioner Anita Chari explores the artist’s theoretical and political innovations to illuminate a more haptic, embodied approach to the practice of critical theory.
Shahryar Nashat inserts his art in the pages of this new artist’s book, which takes the form of a catalogue-turned-manual: but instead of explaining its meaning, he strips it of its aura, flaunts its nature as an object and describes step-by-step how to create it.
Martin Heidegger, Glenn Gould, Jacques-Louis David, Cy Twombly, Paul Engelmann and Ludwig Wittgenstein: characters that Francesco Arena has chosen or rediscovered in multiple contexts over the time recur in this book. Ranging from philosophy, to music, to visual arts, they embrace the whole world of knowledge.
This first institutional monograph on the multimedia practice of artist and director Ali Cherri aims to highlight the themes and formal concerns running through his most recent, highly significant projects at GAMeC, Bergamo; Frac Bretagne, Rennes; Swiss Institute, New York; Biennale Arte 2022, Venice; and the National Gallery, London.
Texts by Catalina Lozano, Paloma Bosquê and Fernanda Brenner
Design by Studio Temp
2022, English / Portuguese, softcover, 17 x 23.5 cm, 200 pages
ISBN 979-12-80579-18-8
This first monograph dedicated to Paloma Bosquê addresses the Brazilian artist’s frustration with the visual as key to understanding of what lies beyond language, of that matter that can be perceived, but not rationalized.
Paloma Bosquê’s work unfolds from an investigation of the materiality as a way to question the dominance of the visual in the apprehension and definition of reality. By challenging the Western definitions of animate and the inanimate, her sculptures and installations take materiality a channel to access a dimension beyond language or where things cannot yet be named. By assembling a myriad of materials, Bosquê presents bodies not as isolated entities but as permeable and moving matter, continuously transforming each other, establishing and revoking connections within and beyond the realm of the visible. Over the past few years, her sculptural practice has been accompanied by a textual production presented for the first time in this publication, together with an extensive overview of works spanning the last decade, an essay by Catalina Lozano, and a conversation with Fernanda Brenner. “In between senses and matter,” writes the artist, “lies a tension which holds things together. Within this gap I build a shelter.”
Paloma Bosquê (Garça, 1982) lives and works between São Paulo and Basel. Her most recent solo exhibitions include noite não noite sim, Mendes Wood DM, São Paulo (2020), Dark Matter, Blum and Poe, Tokyo (2020); In the Hot Sun of a Christmas Day, Mendes Wood DM, New York (2019); Inventory, Mendes Wood DM, Brussels (2018); O Oco e a Emenda, Pavilhão Branco, Museu da Cidade, Lisbon (2017); Field, Mendes Wood DM, São Paulo (2016); O Incômodo, Pivô, São Paulo (2015). Additionally, her work has been included in institutional group exhibitions as A Natural History of Ruins, Pivô, São Paulo (2021); Brasile. Il Coltello Nella Carne, Pac - Padiglione d’Arte Contemporanea, Milan (2018); Bienal de Coimbra, Coimbra (2017); Mycorial Theatre, Pivô, São Paulo (2016); Projeto Piauí, Pivô, São Paulo (2016); Roberto Burle Marx: Brazilian Modernist, The Jewish Museum, New York (2016); United States of Latin America, Museum of Contemporary Art Detroit, Detroit (2015).