Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Consisting of a richly illustrated booklet and a record vinyl, this special release accompanies the performative sound-based project A Comparative Dialogue Act by artists Andrea Mancini and the collective Every Island, hosted in the Luxembourg Pavilion at the 60th Venice Biennale.
Conceived as a catalogue and an artist’s book, the publication offers a deeper insight into the eponymous 2022 exhibition staged at Indipendenza Roma, and explores tensions that can be generated between artworks and their surrounding architectural context, raising questions of taste, value, function and decoration.
The practice of Tomaso Binga (Bianca Pucciarelli Menna, 1931) toys with the notion of gender, reconsidering women’s social roles and rights. This monograph, edited by Eva Fabbris, Lilou Vidal, and Stefania Zuliani, analyses her work through various languages and features a selection of poems, highlighting the author’s critical and artistic approach.
In her work, Cally Spooner crystallizes an absurd contemporary ecosystem in which entities run the risk of managing themselves and one another to death. Featuring newly commissioned essays alongside a lecture by Spooner, SWEAT SHAME ETC. is the first comprehsive survey of the artist’s output of the last five years.
This new anthology brings together visions, experiences and critical interdisciplinary methodologies that have been instrumental in the development of the language of moving images since 2010. New essays and conversations reflect on radical technological and poetic transformations in the works of the generation of digital native artists.
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.
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.
