Lenz publishes books on contemporary art, photography, architecture and design.
Our imprint includes catalogues, monographs, theory and artist books.
Since the 1980s, Belgian artist Sigefride Bruna Hauman has created a highly original body of work in different media. Her installations, reliefs and videos are the subject of a much-overdue retrospective organized by M Leuven—and of this first monograph.
Rituals of Care is an extensive monograph devoted to the work of Antonio Obá, published in conjunction with his eponymous exhibition presented at the Centre d’Art Contemporain Genève, curated by Andrea Bellini. Extensively illustrated, the book immerses the reader in Obá’s multifaceted oeuvre and in the magical iconographic universe of his paintings.
Claiming that the museum is not enough means asking what a museum should be and do, eventually questioning the role of cultural institutions in society. Through conversations, stills of documentaries, responses, and reprints of archival documents that explore ideas of architecture on the ground, this volume reflects on the tools deployed by the institution to redefine its relationship to others.
Affirmer que le musée ne suffit pas, c’est interroger ce qu’un musée devrait être et faire, et réfléchir de manière critique sur le rôle des institutions culturelles dans nos sociétés. À travers des conversations, des photogrammes de documentaires, des interventions et des reproductions d’archives questionnant les conceptions de l’architecture sur le terrain, ce volume réfléchit aux outils mis en œuvre par l’institution pour redéfinir sa relation aux autres.
Semi-Nomadic Debt-Ridden Bedouins is the first monograph on the work of the Palestinian artist and filmmaker Basma al-Sharif. Spanning nearly two decades of moving-image and installation work, it combines visual documentation with texts that reflect on the charged political landscapes through which al-Sharif navigates.
This monograph marks the occasion of the first European survey of Nicola L. (1932–2018). Often discussed in the context of Pop Art, activism, feminism, and design, this is the first in-depth exploration of the multi-layered and expansive nature of her extraordinary practice, which also encompassed cosmology, environmental concerns, spirituality, political protest, and sexuality.
Edited by Konrad Bitterli
Texts by Mitchell Anderson and Konrad Bitterli
Designed by Anne Stock
Co-published with Kunst Museum Winterthur
2025, English / German, Spiral-bound, 30 x 22 cm, 140 pages
ISBN 979-12-80579-83-6
Lorenza Longhi’s practice centers on the circulation of images, materials, and value systems within consumer culture. Working across screen printing, sculpture, installation, and re-constructed furniture, she often reinterprets familiar objects and design elements to expose the subtle pressures embedded in them. By manipulating surfaces, textures, and production processes, Longhi reveals how aesthetics regulate social behavior, status, and aspiration. Her objects—whether printed panels or hybrid forms derived from interior décor—highlight the instability of meaning as things move between domestic, commercial, and institutional settings.
In her 2025 exhibition at Kunst Museum Winterthur, How About Another Problem?, Longhi elaborates these concerns through works that respond directly to the museum’s architecture. Screen-printed panels featuring abstracted flowers pierced by camera-lens motifs evoke the surveillance-driven visual culture shaping contemporary life. Meanwhile, elements resembling furniture or functional fixtures introduce a tension between utility and display, complicating expectations of refinement and production value. Irregularities—misalignments, visible joins, uneven prints—are deliberately preserved, foregrounding the labor behind objects typically associated with industrial perfection and consumer polish.
Longhi’s new spiral-bound catalogue echoes her longstanding interest in modest, industrially inflected production formats. By adopting a format associated with prototypes, manuals, or working documents, the catalogue positions itself as an active tool rather than a luxury object—extending Longhi’s ongoing examination of value, functionality, and the aesthetics of the everyday.
Photos: Flavio Karrer