Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
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.
At 500 pages, this is the most comprehensive book yet on Norwegian artist, Ida Ekblad. Appearing three years after the artist’s show at Kunsthalle Zürich, Melted Snow took certainly a long time—all the time is takes to ponder fifteen years of the artist’s career.
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.
Edited by Lynn Kost
Texts by Kathrin Bentley, Lynn Kost, Dena Yago
Design by Dan Solbach
2022, English / German, softcover, 21 x 27 cm, 168 pages
ISBN 979–12-80579-04-1
Published in conjunction with an institutional survey at the Kunst Museum Winterthur, this is the artist’s first monograph. Mathis Altmann’s artistic strategy is formally based on the principle of the collage, which has a long tradition in art history, as does its three-dimensional form, the assemblage. In contrast with the reductionist tendencies of the modern period, the assemblage served to adamantly establish connections with the world by directly juxtaposing diverse items from everyday life: collages or assemblages are material reflections of the world, metaphors for the world. This tradition is expanded by Altmann using ephemeral media such as light and sound to firmly link them to the present. The French philosophers Gilles Deleuze and Félix Guattari use the term assemblage to describe unformed materials and fluidity that give access to new spaces by deciphering known territories or giving them new codes. Altmann does no less when he addresses the promises and codes of social media and consumer and commodity culture, translating them into his own world as Amalgamate, complex miniature worlds and room-sized installations.
Mathis Altmann (b. 1987 in Munich) lives and works in Los Angeles and Zurich. Recent solo exhibitions include: Amalgamate, Kunst Museum Winterthur (2021-22), More Than Yesturday, Bottomspace, Guangzhou (2021), The Delve of Spade, Istituto Svizzero, Milan (2018) and Foul Matters, Swiss Institute, New York (2016).