Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
A Cosmic Movie Camera is the title of the 18th edition of the BIM’24, which also marks the 50th anniversary of the Biennale organized by the Centre d’Art Contemporain Genève. By blending the real and the virtual, its catalogue captures the spirit of the exhibition, which explores the evolution of moving images, particularly in our algorithmic age.
The book seeks to define the contours of the obsession with the teenage years; a fixation that has shaped a significant strand of contemporary art over the last ten years. Adolescence is here understood as a state of mind, a prolonged condition that dissolves the transition into adulthood and becomes a critique of an unstable world.
In this multi-voiced book, starting from the Orobie Alpine range, the mountainside becomes an epistemological lens through which to interpret contemporaneity and address issues such as multi-species migrations, our relationship with geological time and intergenerational inheritance, and the rethinking of collective memories and rituals.
For years now, the Die Vier von der Tankstelle (Four from the Gas Station) have been roaming across an area stretching out to the south of the Baltic Sea. They prowl their way through sparsely populated areas, wantonly terrorizing the inhabitants. The 2026 calendar by Jos de Gruyter and Harald Thys bears witness to their presence.
The first monograph dedicated to Lorenza Longhi, published with the Kunst Museum Winterthur, adopts a format associated with prototypes, manuals, or working documents. Its irregularities reflect Longhi’s ongoing examination of value, functionality, and the aesthetics of the everyday.
This publication is an extensive monograph devoted to the work of Carlos Bunga, published in conjunction with his eponymous show at CAM – Gulbenkian. In addition to a number of essays, which offer an in-depth look at his multifaceted practice, the book contains previously unpublished photos that reveal his working process.
Edited by Samuele Piazza
Texts by Lorenzo Giusti, Felicia F. Leu, Samuele Piazza, Laura Preston
Design by Lorenzo Mason Studio
2022, English / Italian, softcover, 224 pages, 16.5 x 24 cm
ISBN: 979-12-80579-14-0
Hardscapes / HERE documents and brings together two exhibition projects by artists Nina Canell (Växjö, 1979) and Maria Hassabi (Cyprus, 1973). Produced on the occasion of the exhibitions of the same name curated by Samuele Piazza at the OGR Torino, the publication consists of two graphically specular books that merge into a single volume. Essays, unpublished materials and a rich set of photographic materials form the driving force behind two visual narratives that offer new keys to understanding the research of the two artists.
Hassabi’s live installation HERE calls on visitors to share space and spend time with six performers portrayed in a decelerated rhythmic choreography within a sculptural environment. In constant motion, the dancers contribute to a situation of shifting presence, demonstrating the contestable nature of the “here and now.” Immobility and slowing down are thus used both as techniques and as subjects of representation: the performing bodies oscillate between dance and sculpture, subject and object, living body and static image.
Canell’s Hardscapes combines two works that focus on the concepts of circulation and transformation as well as on unexpected forms of coexistence. Energy Budget (2017–18), a video that alternates between two subjects: a basement in which a leopard snail crawls over an electrical panel, and the gradual shifting of the frame away from “dragon gates”—portal-like openings in huge buildings on the Hong Kong waterfront. Muscle Memory (16 Tonnes) (2020–21) is a floor sculpture, decomposed and transformed by the density of moving bodies, which literally crumbles under the soles of passing visitors.
In addition to texts by the curator, the publication includes essays by Felicia Leu and Laura Preston, along with a conversation by Maria Hassabi and Nina Canell with Lorenzo Giusti.
