Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Center of the Frame is the artist’s first monograph and brings together paintings made between 1997 and 2024. The publication provides an in-depth look at Eisler’s fascination with cinema and with the transmission of images through the various formats of analog film, television broadcasts, Internet video and, of course, the painted canvas.
On the occasion of PROVENCE’s 15th anniversary, the reader My Alphabet presents 26 texts published by PROVENCE between 2009 and 2024, either in print or digitally in the weekly newsletter. These texts are sorted alphabetically, ranging from A for Amphetamine to N for Ne travaillez jamais to Z for Gen Z.
This publication is devoted exclusively to the metal works of Sidsel Meineche Hansen. Catalogued here is every cast, forged, and fabricated metal sculpture made since 2017. Poems by the artist Diego Marcon annotate and respond to the individual pieces.
This compelling artist’s book is built around KOOL (“cabbage” in Dutch), an original font designed by Reus, somewhere between a plant alphabet and concrete poetry. The publication draws on the type specimen book tradition to present new typefaces.
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.
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.
Texts by Flavia Frigeri and Alexandra Kleeman
Design by Lorenzo Mason Studio
2022, English / Italian, softcover, 24 x 32 cm, 96 pages
ISBN 979-12-80579-37-9
Published in conjunction with Mirages—the first solo show in Italy by American artist Jenna Gribbon, who has conceived it specifically for the Collezione Maramotti’s Pattern Room—the book showcases a wealth of images and essays by art historian and curator Flavia Frigeri and by writer Alexandra Kleeman.
Gribbon often depicts the people closest to her: her friends, her son, her partner, her fellow artists. Her paintings capture the intricacies and dynamics within these relationships while addressing the implications surrounding seeing and being seen. The central subject of the works in the exhibition is the artist’s partner, musician Mackenzie Scott (aka TORRES). Gribbon’s protagonist is portrayed in vivid colours and fluid, sensual brushstrokes that make the surroundings almost merge with her body—a body that is reflected, moulded, perused, made larger than life—experimenting with scale and compositions that are entirely new for the artist.
While in the larger paintings the visual energy of these images radiates from a distance—their forms becoming almost abstract as one approaches the surface of the canvas—the smaller works demand proximity, a personal movement towards and into the work in order to grasp its details and narrative.
As unique portrayals of a female universe where beauty and pleasure are political tools for demolishing patriarchal and heterosexual structures, her works engage viewers as active participants in complex relationships of the gaze.
