Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
This is a visual archive of 12 years of developing, designing and exhibiting the House of One, a multireligious sacred space in the heart of Berlin. The architecture, conceived by Kuehn Malvezzi, has been displayed at various venues while being developed in close collaboration with three local religious communities in Berlin since 2012.
The first major monograph on artist Jill Mulleady, whose paintings thread motifs of decay, memory, history, and private myth, featuring humans and animals enacting their instinctive psychological reactions to ever-present threats of danger.
The essays in this first-ever monograph dedicated to Swiss artist Jan Vorisek, alongside image portfolios of the exhibitions they explore and an appendix that features photos and documentation of Vorisek’s performances, recordings and ephemera, grant us unprecedented access to the private fictions that the work reveals.
Since the 1990s Costa has been challenging hierarchies of art production and the fetishization of the “finished” artwork, inviting viewers to reconsider what is discarded, both materially and socially. Through over 300 artworks, accompanied by new writing, this catalogue explores Adriano Costa’s work, a meditation on transformation—of objects, meanings, and systems of value.
This richly illustrated book considers the dazzling oeuvre of choreographer and dancer Marlene Monteiro Freitas. In line with her creative methodology, Alexandra Balona unfolds an “atlas of affects” through five emblematic dance pieces that reveal the intensity, humor, and humanity of one of today’s most radical choreographic voices.
Invited to present an exhibition at the Galleria Borghese in Rome, Kenyan-American artist Wangechi Mutu has developed an innovative approach to museum space, challenging hierarchy, permanence, and fixed meanings. With in-depth essays and a rich selection of illustrations, this catalog retraces that exhibition and explores the themes and concerns that have long characterized the artist’s practice.
Edited by Tolia Astakhishvili and Hans Ulrich Obrist
Texts: Tolia Astakhishvili, Hans Ulrich Obrist
Designed by Lorenzo Mason Studio
2025, English, softcover, 160 pages, 24 x 34 cm
ISBN 979-12-80579-65-2
The artist’s book to love and devour by Tolia Astakhishvili was published on the occasion of the inaugural exhibition at the new site of the Nicoletta Fiorucci Foundation in Venice, curated by Hans Ulrich Obrist.
The book, produced in close collaboration with the Lorenzo Mason Studio, brings together drawings, paintings, and archive images composed directly amid the cracks, wounds, and skin of a building located in the historic center of Venice, which served as the artist’s studio for a number of months. Through processes of transformation of the space, addition and subtraction, expansion and contraction, Astakhishvili has created a project shot through with a deep sense of disruption, distortion and fragmentation—a feeling of uncertainty that is reflected in the way in which visitors to the installation are given the freedom to move around, without having to concentrate on a center or to follow a pre-set route. Appropriately, then, the book takes the form of a stream of images, in which the spaces and materials of the building (wood, glass, dust, mold, bricks, concrete, plaster …) enter into a dialog with the drawings, paintings, sculptures, collages, and photographs made by the artist herself and the other invited artists, including Ketuta Alexi-Meskhishvili, Zurab Astakhishvili, Thea Djordjadze, Heike Gallmeier, Rafik Greiss, Dylan Peirce, James Richards, and Maka Sanadze.
For Tolia Astakhishvili, architecture is the space of projection of ideas, which are developed in that space, generating actions that are separate but conducted simultaneously: alteration of structural elements, pictorial and graphic composition, and creation of perceptive ambiguities—of space, light, and sound. The book compiles the traces of this practice, serving as a sort of diachronic diary in the form of images, constituting a complete encapsulation of the artist’s poetics.
The book also features a new interview with the artist by Hans Ulrich Obrist.
Photos: Giacomo Bianco