HENZEL STUDIO MAGAZINE: CONTEMPORARY ART + RUGS & CULTURE by HENZEL STUDIO / CALLE HENZEL

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Cover: Juergen Teller, self-portrait

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CONTEMPORARY ART + RUGS & CULTURE

COPYRIGHT All designs contained within this magazine are subject to copyright. No artworks, images or designs may be reproduced without prior consent of Henzel Studio, The Andy Warhol Foundation for the Visual Arts, Inc. and Tom of Finland Foundation. Henzel Studio reserves all rights for this catalog, in particular for designs, artworks, pictures and texts. The catalog and its content are subject to copyright law and other protective rights.

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HENZEL STUDIO HERITAGE: ANDY WARHOL Henzel Studio is honored to further its collaboration with The Andy Warhol Foundation for the Visual Arts on a second collection of handmade art rugs based on one of Warhol’s most controversial yet abstract series of works, his Oxidation Paintings. Curated by Joakim Andreasson, the collection is part of Henzel Studio Heritage, an ongoing program of art rugs established with foundations and estates of the most prominent artists of the 20th century. Henzel Studio Heritage is developed in parallel with Henzel Studio Collaborations, the brand’s debut artist program that to date includes designs by Nan Goldin, Marilyn Minter, Douglas Gordon, Richard Prince, Tony Oursler, Anselm Reyle and Mickalene Thomas, among others. For the second installment of Henzel Studio Heritage: Andy Warhol, Andreasson identified Warhol’s Oxidation Paintings from 1978 as a captivating series to examine after experiencing one of the pieces at Andy Warhol: From A to B and Back Again, exhibition at The Whitney Museum For American Art in New York, 2019. Hours later, at a pre-scheduled meeting with The Andy Warhol Foundation For The Visual Arts, minds were aligned to explore the paintings’ adaptability into the media of rugs further. After two years of painstaking development and production, the result is a remarkably seamless adaptation, where similar oxidation outcomes and comparable textures have been achieved.

“The foundation is delighted to expand our collaboration with Henzel Studio to celebrate Warhol’s idiosyncratic exploration of abstraction and his continued influence on contemporary culture,” said Michael Dayton Hermann of The Andy Warhol Foundation. “We are proud to work with creatives like Calle Henzel and Joakim Andreasson to execute exquisite interpretations of Warhol’s work as handmade art rugs. Revenue generated from the sale of the rugs contributes generously to the vital work of the charitable non-profit established by Andy Warhol.”

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ANDY WARHOL, Oxidation Painting, 1978 Oxidation Painting (01), 2021 Design by Calle Henzel Edition of 10 Hand knotted Wool & Silk High / Low Cut 240 x 320 cm (94.5 x 126 ins) Accompanied by a Certificate of Authenticity © / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.

ANDY WARHOL, Oxidation Painting, 1978 Oxidation Painting (01), 2021 (in-situ) Design by Calle Henzel Edition of 10 Hand knotted Wool & Silk High / Low Cut 240 x 320 cm (94.5 x 126 ins) Accompanied by a Certificate of Authenticity © / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.

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Installation view of Andy Warhol - From A to B and Back Again (Whitney Museum of American Art, New York, November 12, 2018-March 31, 2019). From left to right, top to bottom: Skull, 1976; Skull, 1976; Skull, 1976; Skull, 1976; Oxidation Painting, 1978. Photograph by Ron Amstutz. New York, Whitney Museum of American Art. © 2021. Digital image Whitney Museum of American Art / Licensed by Scala © / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.

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To create his Oxidation paintings, Warhol positioned canvases on the floor and coated them with copper paint - with the purpose of having his assistants and visitors to his studio urinate on them as the paint dried. The acid from the urine reacted with the metal in the paint, creating a glimmery, abstract and irregular color-shifting landscape. However, the process were not all left to chance. Warhol explains:

“If I asked someone to do an Oxidation painting, and they just wouldn’t think about it, it would just be a mess. Then I did it myself – and it’s just too much work – and you try to figure out a good design.” Warhol’s Oxidation paintings is an encapsulated abstract exploration that differ extensively from his previous figurative work that mainly utilized photography and silk-screening as media. This series of work set the artist on a path towards a certain kind of painterly abstraction reminiscent of Abstract Expressionism. The process in which these paintings were made, by urinating on the canvas, and the developing process through oxidation, suggest a kind of alchemy in which bodily fluids are transformed into images of devastating beauty. These limited edition rugs are made of the finest silk and wool available, and solely utilize hand-made techniques that date back centuries. Calle Henzel, founder and creative director of Henzel Studio, experimented extensively with various techniques that in practice might seem contradictory and destructive – but one that allows for a closer dialogue with the original works. The abstractions, freeform shapes and variable pile heights of these rugs are coincidentally closely tied with Calle Henzel’s signature designs, many of which are informed by free-form shapes, interplay between volume and dimensions, effects of erosion and geological formations – Characteristics that have carved a trademark place for Henzel Studio in art and interior design. Aesthetics aside, Andreasson found it intriguing to explore adapting works that were created on the same plane field as the one rug traditionally inhabit – the floor. With the Oxidation Paintings being executed through elements of chance, random and performance comparable to the making of Yves Klein’s paintings, it is compelling to see how these engaging works in turn are given an alternate life as elements of physical and domestic engagement.

ANDY WARHOL, Self-portrait, 1979 (above) © / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.

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ANDY WARHOL, Oxidation Painting, 1978 Oxidation Painting (02), 2021 Design by Calle Henzel Edition of 10 Hand knotted Wool & Silk High / Low Cut 240 x 320 cm (94.5 x 126 ins) Accompanied by a Certificate of Authenticity © / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.

In collaboration with KALKERIET CONTEMPORARY, HENZEL STUDIO is pleased to announce Object / Object, an exhibition of Syrianborn Swedish artist JwanYosef’s paintings, wall reliefs and hand knotted rugs. Jwan Yosef’s works explore both formalism and autobiographical themes, with a conceptual undertaking that queers the principles of modernist aesthetics. Yosef’s tactical use of abstraction serves opportunities to release entendres and challenge viewers to break from passive gazes towards a plurality of perspectives. Whether fixating on the materiality or language of an object, Yosef’s inspirations draw from the potentialities of states of being. The core of this fixation engages a reexamining of functions, routines and expectations of artistic gestures, materials and their interpreted values. Yosef invites the vernacular of everyday materials to a re-thinking of possibilities—a poetic exercise that extracts the many metaphors and biases society projects on familiar effects. The potency of Yosef’s endeavors ultimately refines a poignant and lucid reminder of our own relationships and interpretations of the everyday world and each other. The exhibited works in Jwan Yosef’s Object / Object are no redundancy. A self-described conceptual painter, Yosef’s works are attentive to the formal values that physically shape a work of art, yet more readily discourses the language constructs inherent to the social and psychological processes of projecting and interpreting objects. In the case of Object / Object, Yosef invites us to examine the dimensionality of the ubiquitous term’s many façades and functions—from the anonymity of its description as a noun to its performance as a radically action-oriented verb. Mirroring the transitory states of this word unfolds Yosef’s Object series.

Jwan Yosef, portrait

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JWAN YOSEF, Ahmad, 2018 (Installation view) Oil on linen 188 x 132 cm / 74 x 52 in

Yosef continues his deconstruction of the entendres of both material and language in his Masking series. In this series, Yosef employs the utilitarian material of tape, and its familiarity as a quotidian binding material for quick-fixes, as an artist’s material to mask edges and render perfect lines, and even as a bondage material for kink (a playful wink to minimalist aesthetics’ affinities for surface “fetish”). Yosef is drawn to this ready-made material that is fraught with varying applications and contexts. With considered site-specific installations, Yosef tautly applies the tape—floor to ceiling—drawing contours that alter the space’s interior horizon lines and bodily experience. Whether disrupting the figurative neutrality of white gallery walls or juxtaposing fraught histories by using the edges of the material to compose chiaroscuro-style cascades alongside the architectural motifs of the Italian basilica, Basilica di Santa Maria in Montesanto Chisea degli Artisti in Rome — Yosef cleverly coaxes the material’s liminal nature, illustrating an unexpected prominence of a most simple material. Yosef is also drawn to the ephemeral quality of the material and describes the aspects of time and chance with the experience of the work:

The duality of the stretched duct tape has many forms in my mind, the idea of sexually being tied up and the contrasting form of near abduction-style restraint. The work plays with the thin line between sex and violence. This series too resists a single identity. The very strict, stretched form it takes on from wall to floor, however taught, holds an ephemeral quality where tensions ultimately meet temporality. A durational element comes into play and we see how quickly it can become a flaccid and torn object, dangling off the wall.

Yosef further engages the language of the material with his play on the artwork’s titles, Electrical, Masking, Duct and Painter’s, carrying double meanings that stretch beyond their signified and intended utility. For Jwan Yosef’s collaboration with Henzel Studio, Yosef invited yet another transfiguration of the work. Henzel transforms the work into uniquely editioned handwoven rugs inspired by the disruptive minimalism and elegant contours of Yosef’s Masking series. The rugs are part of HENZEL STUDIO COLLABORATIONS, an ongoing program of artist designed rugs that to date also include works by Richard Prince, Lawrence Weiner, Marilyn Minter, Nan Goldin, Kim Gordon, Jake & Dinos Chapman, Sanford Biggers, Mickalene Thomas, Wilhelm Sasnal and Douglas Gordon, among others. In conjunction with this exhibition, Jwan Yosef’s rug Duct and Electrical will be on view at Twentieth (Los Angeles) and Italo Design (Miami) respectively. Jwan Yosef was winner of the 2020 Archiproducts Design Award for his rug design.

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JWAN YOSEF, Tensegrity, 2019 Site-specific installation at Chiesa Degli Artisti, Rome, Italy

Installation view Frozen Palms Gallery; JWAN YOSEF, Object, 2018, Oil on linen, 188 x 132 cm / 74 x 52 in JWAN YOSEF, Object, 2018, Oil on linen, 188 x 132 cm / 74 x 52 in

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“In a way, I don’t really consider this carpet as two-dimensional. I worked with masking tape as a reference and the carpet became a pretty accurate three-dimensional imitation of that real object. The elevations of the crossing pieces of “tape” are pretty real in proportions. I wanted to superimpose the idea of an adhesive object. To somehow tie in a room and its contents together through the image of a strip of masking tape. This all made it an obvious and fun object to work with.” - Jwan Yosef

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JWAN YOSEF, Electrical, 2019 Edition of 20 + 1 AP Numbered Hand knotted 170 x 300 cm (67 x 118 ins) Silk High / Low Cut

JWAN YOSEF, Object, 2018 Oil on linen 188 x 132 cm / 74 x 52 in

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The objects here hold no singular identity. At once painting and sculpture, the works subtly introduce a limbo of being. While the pulling action of the artist’s hand can be interpreted as an iconoclastic or even violent maneuver, the gesture is performed as a revelatory exercise, which Yosef describes as an “undressing of the canvas.” The canvas’ corporeality reveals its naked anatomy, expressing a most sensual disrobing. With the painting’s interior elements bared, grids of threaded linen are exposed, and the limbs of the stretcher bars posture a new relaxed silhouette. The façade of the canvas, fortified with gesso and white paint, holds a sculptural form reminiscent of the folds of wet drapery carved in Greco-Roman frieze figures. The undressing gesture transforms the painting into sculpture or an entity existing in-between. This transfigurative quality of the Object series engenders allegorical poetics to each painting’s essence—as an objection, as an objectification, as an art object. Each iteration examines mark-making manifested in folding, tucking, pulling, concealing, and preserving the visual planes—indexing the artist’s hand in grappling meaning within the lexicons of minimalism, to ultimately dialogue the power dynamics that instigate objectification.

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JWAN YOSEF, Masking, 2018 Edition of 20 + 1 AP Numbered Hand knotted 165 x 300 cm (65 x 130 ins) Silk High / Low Cut

Image: Kim Gordon portrait by David Black

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HENZEL STUDIO is proud to announce the unveiling of three new art rugs designed in collaboration with three of the most influential American artists of our time; KIM GORDON, MARILYN MINTER and MICKALENE THOMAS.

Since the launch of HENZEL STUDIO COLLABORATIONS at BARNEYS NEW YORK Madison Avenue in 2014 during Frieze Art Fair, Henzel Studio has invited contemporary artists across disciplines and genres to freely and seamlessly translate their work through an alternate media and the extraordinary practices that are involved in the making of Henzel Studio’s rugs. All pieces are made by hand, using centuries’ old weaving techniques that make each rug one of a kind. The three rugs by KIM GORDON, MARILYN MINTER and MICKALENE THOMAS are the latest additions to HENZEL STUDIO COLLABORATIONS, a program of art rugs designed in close collaboration with over thirty contemporary artists that to date include RICHARD PRINCE, JACK PIERSON, NAN GOLDIN, SCOTT CAMPBELL, RICHARD PHILLIPS, CARSTEN HÖLLER, LINDER, ANSELM REYLE, and artist foundations that include THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS and TOM OF FINLAND FOUNDATION. The display is organized in partnership with ITALO P. 21

DESIGN MIAMI, one of the city’s leading contemporary luxury furniture showrooms.

KIM GORDON Celebrated for her work as a founding member of the experimental post-punk band Sonic Youth, KIM GORDON is a multi-disciplinary artist and thinker who has worked in fashion, visual art, writing, film, and music. Gordon’s rug is one in a series of three, and is an adaptation of a vintage dress treated with tar and morphed into an abstract shape.

Opposite: KIM GORDON Fung dress, 2021 Edition of 10 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity, Signed by the artist(CoA), Hand knotted, Free-form, High & Low Cut 160 x 245 cm (63 x 96.5 ins), Silk

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MARILYN MINTER MARILYN MINTER’s rug is the second design in a series for Henzel

Studio, and appropriates her painting Twilight, depicting a cracked shower-glass surface. The original work is part of Minter’s depiction of subjects through panes of wet or steamed glass, commenting on the voyeuristic relationship between artist and muse.

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Opposite: Marilyn Minter portrait by Steve Benisty

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MARILYN MINTER , Twilight, 2019 Edition of 20 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity Hand knotted, Free-form, High / Low Cut 220 x 300 cm (86.5 x 118 ins), Silk

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MARILYN MINTER, Twilight, 2019 (in-situ)

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MICKALENE THOMAS MICKALENE THOMAS’ rug Raqcuel Come To Me reproduces a unique photo collage by the artist. Thomas’ work stems from her long study of art history and classical genres of portraiture, landscape, and still life. She continues to explore notions of beauty from a contemporary perspective infused with the more recent influences of popular culture and pop art; thus redefining contemporary ideas of portraiture. In combining traditional genres with African American female subjects, Thomas makes a case for opening up the conventional parameters of art history and culture.

MICKALENE THOMAS , Racquel Come to Me, 2019 Edition of 10 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity Hand knotted, Free-form, High / Low Cut 230 x 300 cm (90.5 x 118 ins), Wool, Lyocell, Linen & Silk

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Opposite: Mickalene Thomas portrait by Lyndsy Welgos

HENZEL STUDIO is pleased to announce a new collection; Aura Patina, designed by artist and Henzel Studio Founder Calle Henzel. The designs (21) in the collection features some of his signature design characteristics, including; freeform organic shapes, different pile levels and elaborate surface treatments as in this case creates a vintage feel. Henzel Studio’s ethos is based on the artistic practice of Calle Henzel, founder and creative director. Over the past 20 years, he has translated his artistic practice as painter and collage artist into the medium at hand, positioning Henzel Studio as one of the most progressive luxury rug brands in the world. All pieces are made by hand, using centuries’ old weaving techniques that make each rug one of a kind. Henzel Studio collaborates with some of the most prominent names in contemporary and 20th century art.

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CALLE HENZEL Laurel Canyon (Commack Edit), 2021 Aura Patina Hand knotted, Persian weave Wool, Mohair & Silk High / Low Cut Custom size / colors upon request

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CALLE HENZEL, Laurel Canyon (Jackson Edit), 2021 (in-situ)

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CALLE HENZEL, Chelan Way (Malaga Edit), 2021 (in-situ)

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ON VIEW @ KALKERIET: ANDY WARHOL THE MARILYN MAQUETTE: OBSCURE, UNKNOWN… AND ICONIC Andy Warhol, self-portrait, 1986

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HENZEL STUDIO is pleased to announce an exhibition at Kalkeriet Contemporary, that brings to light one of Warhol’s most obscure and unknown works, while paying homage to his most iconic and popular subject; Marilyn Monroe. The exhibition features nine handmade rugs by Henzel Studio created in close collaboration with The Andy Warhol Foundation for the Visual Arts. Alongside these are virtual replicas of fourteen original Warhol paintings made available by The Andy Warhol Foundation for the Visual Arts, further contextualizing the artist’s accomplishments of both replicating, abstracting and deconstructing the recognizable subject. The rugs are based on a maquette Warhol created for an unrealized artists book. The handmademodel consists of thirty-eight octagonal pages, each a die-cut detail from Warhol’s print edition set of Marilyn Monroe dated 1967 that includes ten variations of the iconic star. Curated by Joakim Andreasson, the rugs were designed and appropriated into the media at hand through the unparalleled expertise and implementation of artist and Henzel Studio Founder Calle Henzel. Each page of the maquette has been re-appropriated and turned into a unique rug design, four of which are on view in this exhibition. The resulting designs and abstractions provide an unforeseen and detailed view of Warhol’s portrait of Monroe, where each rug serves as magnified close-ups through an octagon shaped lens. The maquette was discovered in Warhol’s Time Capsule 55 in 1994, one of 610 cardboard boxes he filled and dated from 1974 until his death in 1987. Referred to then as “Andy’s stuff”, they are filled with objects he accumulated from his daily life: gifts, collectibles, photographs, invitations, letters, magazines, newspapers, junk mail, business records and artwork. Today Warhol’s Time Capsules are known to be a diary of his everyday personal and professional life including Warhol’s artistic practice. In parallel, original Monroe portraits have been further deconstructed and appropriated by Calle Henzel, where he applied his signature design characteristics; freeform organic shapes, strategically placed holes, uneven punk-like fringes and elaborate surface treatments into five unique shapes. Four of these will be on view throughout the gallery. Fourteen virtual replicas of Warhol’s depictions of Monroe are represented in the exhibition. These include the Marilyn Diptych (1962), noted as one of the most influential pieces in Modern Art, The iconic Marilyn Portfolio featuring ten different silkscreens, Gold Marilyn Monroe (1962) and Gold Monroe (Tondo) (1962), silkscreened on gold canvases and finally The Two Marilyns (1962) composed of duo black and white repeat silkscreens of the actor. The exhibition is topped off with a two-piece free-from design by Calle Henzel of Monroe’s Lips appropriated from a lithograph by Warhol printed as part of a publication called 1¢ Life in 1964. The rug is placed next to a virtual replica of Marilyn Monroe’s Lips (1962), a silkscreendepicting 196 repeats of Monroe’s lips allowing an alternate and reduced representation of the subject. “The Foundation has been delighted to collaborate with Henzel Studio on this collection of distinctive hand made rugs which elegantly merge Calle Henzel’s signature treatments with rarely seen abstracted depictions of Marilyn created by Warhol.” Michael Dayton Hermann, The Andy Warhol Foundation for The Visual Arts

Installation view (opposite: ANDY WARHOL, Marilyn Diptych, 1962, Acrylic, silkscreen ink and pencil on linen, 81 x 57 inches each (two panels) ANDY WARHOL, Marilyn, 1967, Tarfala Permafrost Night Edit, 2015, Design by Calle Henzel, 270 x 305 cm (108.5 x 120 ins), Wool & Silk, High / Low Cut, Edition of 10, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted ANDY WARHOL, I love your kiss forever forever, 1969, I love your kiss forever forever, 2015, Design by Calle Henzel, 350 x 200 cm (138 x 79 ins), Silk, Edition of 10, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted ANDY WARHOL, Marilyn’s Lips, 1962, Acrylic, silkscreen ink and pencil on linen, 82.75 x 80.75 inches each (210 x 210 cm)(two panels) ©️/®️/™️ The Andy Warhol Foundation for the Visual Arts, Inc. Marilyn Monroe™; Rights of Publicity and Persona Rights: The Estate of Marilyn

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JUERGEN TELLER Vivienne Westwood, 2009 Edition of 50 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity Hand knotted, Persian weave, 200 x 305 cm (79 x 120 Ins), Wool & Silk Custom size upon request

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Image: Juergen Teller, self-portrait © Juergen Teller

Installation view, Austere, Los Angeles: JUERGEN TELLER, Vivienne Westwood, 2009, Edition of 50 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted, Persian weave, 200 x 305cm (79 x 120 ins), Wool & Silk, Custom size upon request

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TOM OF FINLAND, Untitled, 1982, Edition of 50, Numbered, Accompanied by a Certificate of Authenticity, Hand tufted, 170 x 245 cm (67 x 96 ins), Wool, Custom size upon request

HENZEL STUDIO COLLABORATION HIGHLIGHT: JUERGEN TELLER

Image: Juergen Teller, self-portrait © Juergen Teller

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Juergen Teller is considered one of the most important contemporary photographers of our time and is one of the few artists who has managed to operate successfully both in the art world and at the centre of the commercial sphere. Teller entered the London photography scene via the music industry, taking photographs for record covers by artists such as Björk, Elastica, Elton John, New Order, Sinead O’Connor and Texas. Teller’s photographs first appeared in the late 80’s and included portraits of Kate Moss when she was just 15, spearheading the shift that was to follow in the representation of beauty and fashion. In the early 90’s he photographed Nirvana backstage and started a decade long relationship capturing the behind the scenes at Helmut Lang’s fashion shows. Teller’s provocative interventions in conventional celebrity portraiture are apparent in works such as a photograph of Victoria Beckham in which we only see her bare, high-heeled legs hanging over the sides of a Marc Jacobs shopping bag for the Spring Summer 2008 campaign. Other well-known examples include Vivienne Westwood reclining naked on a floral settee in a startling triptych, or the intimate portrait of Björk and her son shot in the Blue Lagoon. Subverting the conventional relationship of the artist and model, Teller often pictures himself as the muse in his photographs, seen in the Louis XV series with Charlotte Rampling, or in his controversial shoot in the French landscape with Kanye and Kim Kardashian West for System magazine. Whatever the setting, all his subjects collaborate in a way that allows for the most surprising poses and emotional intensity.

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His personal work consists of capsuled series of intimate family moments, such as Keys to the House (2010-2012), photographed in the British countryside and Irene im Wald (2012), shot in the forest with his mother in his hometown of Erlangen, Germany. Driven by a desire to tell a story in every picture he takes, Teller has shaped his own distinct and instantly recognizable style, which combines humor, self-mockery, candid honesty and raw emotion.

“I’ve known Vivienne Westwood for ages, and we’ve been working together on her advertising campaign for many years. I was always keen on her and her look, her courage and her attitude, not least where politics are concerned. She’s not actually interested in photography at all, but when I asked her to do some nude pictures, she trusted me completely and thought the idea of doing them now, at the age of 68, was really lovely. I’m delighted how coquettish and youthful and sexually attractive Vivienne looks in the pictures - and she really is all of those things.” - Juergen Teller Previous page, installation view, Austere, Los Angeles: JUERGEN TELLER, Vivienne Westwood, 2009, Edition of 50 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted, Persian weave, 200 x 305 cm (79 x 120 Ins), Wool & Silk, Custom size upon request For HENZEL STUDIO COLLABORATIONS, Teller re-appropriated a photograph of Vivienne Westwood.

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Selected Solo Exhibitions 2020 If You Pay Attention & Leben und Tod, Grisebach, Berlin, Germany 2019 Demelza Kids, Bonhams, London Handbags, Museo Villa Pignatelli, Naples, Italy Heimweh, Konig Tokio x MCM Ginza Haus I, Tokyo, Japan Araki/Teller, AM Gallery, Tokyo, Japan (Joint exhibition) 2018 Leg, Snails and Peaches, Suzanne Tarasieve, Paris, France Juergen Teller, Christine König Galerie, Vienna, Austria Juergen Teller: Zittern auf dem Sofa, Garage Museum of Contemporary Art, Moscow, Russia Enjoy Your Life! Fotomuseum Winterthur, Switzerland 2017 Enjoy Your Life! Martin-Gropius-Bau, Berlin, Germany Juergen Teller, Kunstpalais, Erlangen, Germany Juergen Teller: Teller Ga Kaeru, Blum & Poe Gallery, Tokyo, Japan Juergen Teller, Great Arch Hall, Photo London, Somerset House, London Go-Sees, Bubenreuth kids and a Fairytale about a King…, Alison Jacques Gallery, London, UK 2016 Enjoy Your Life! Bundeskunstalle, Bonn, Germany Enjoy Your Life! Galerie Rudolfinum, Prague, Czech Republic 2015 The Clinic, Contemporary Fine Arts, Berlin, Germany Juergen Teller, Phillips, London, UK Kanye, Juergen and Kim, Suzanne Tarasieve, Paris, France 2014 I am Fifty, Galerie Suzanne Tarasieve, Paris, France Macho, Deste Foundation, Athens, Greece Araki Teller Teller Araki, OstLicht: Galerie für Fotografie, Vienna, Austria (Joint exhibition) 2013 Woo!, Institute of Contemporary Art, London, UK 2012 Juergen Teller, Lehmann Maupin, New York, USA The Girl with the Broken Nose, Palazzo Reale, Milan, Italy Irene im Wald, The Journal Gallery, Brooklyn, USA 2011 Man with Banana, Dallas Contemporary, Dallas, USA Touch Me, Daelim Museum, Seoul, South Korea Paradis, Johann König Gallery, Berlin, Germany 2010 Calves and Thighs, Alcala 31, Madrid, Spain Touch Me, Le Consortium, Dijon, France Texte Und Bilder, Christine König Galerie, Vienna, Austria 2009 Paradis, Lehmann Maupin, New York, USA Logisch, Kunsthalle Nürnberg, Germany 2008 Teller, Frans Hals Museum, Haarlem, The Netherlands Ukraine, Lehmann Maupin, New York, USA 2007 Awailable, Inverleith House, Edinburgh, UK 2006 Do you know what I mean, Fondation Cartier pour l’Art Contemporain, Paris, France Nürnberg, Lehmann Maupin, New York, USA 2005 Louis XV, Contemporary Fine Arts, Berlin, Germany 2004 The Master, Modern Art, London, UK Ich bin Vierzig, Kunsthalle Wien, Vienna, Austria Go-sees and World cup final, Germany v Brazil 0-2, Temple Bar Visual Arts, Dublin, Ireland 2003 Tracht, Kuntsthalle Mannheim, Mannheim, Germany Daddy You’re So Cute, Lehmann Maupin, New York, USA Don’t suffer too much, MK Gallery, Milton Keynes, UK Zwei Schäuferle mit Kloβ und eine Kinderportion Scnitzel mit Pommes Frites, Contemporary Fine Arts, Berlin, Germany Marchenstüberl, Galleria d’Arte Moderna, Bologna, Italy Marchenstüberl, Frans Hals Museum, Haarlem, The Netherlands 2002 Marchenstüberl, Stadtmuseum, Munich, Germany Marchenstüberl, Folkswang, Essen, Germany 2001 Marchenstüberl, Modern Art, London, UK 2000 Juergen Teller, Lehmann Maupin Gallery, New York, USA 1999 Go-Sees, Pitti Immagine Discovery, Florence, Italy

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1998 Juergen Teller, Photographers Gallery, London, UK

HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG RUG BY HENZEL STUDIO @ SAINT LAURENT RIVE DROITE HELMUT LANG P. 46

HENZEL STUDIO is pleased to announce the display of a hand knotted rug created in collaboration with Helmut Lang at Saint Laurent Rive Droite. Display in conjunction with an exhibition of sculptures by Helmut Lang using discarded clothes and accessories from Anthony Vaccarello’s past collections at SAINT LAURENT. For HENZEL STUDIO, Helmut Lang re-appropriated the shape of his sculpture Behind, 2012. The surface and finishings have been crafted through different pile heights and material compositions.

Helmut Lang, Untitled, 2013 (in-situ), Edition of 20 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted, Tibetan weave, 315 x 300 cm (124 x 118 ins), Wool & Silk, High & Low Cut, Custom size upon request

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Helmut Lang, portrait by Daniel Trese

HENZEL STUDIO is pleased to present a new collection of contemporary runners based on some of our unique signature works, designed by Calle Henzel. All designs in the collection can be adapted to the customer’s specific size requirements.

Calle Henzel has over the years in an uncompromised fashion challenged the traditional conventions of subject matter, shape, finishings and special treatments as a result of painstaking research that includes vintage treatments, intricate surface compositions and even natural erosion – methodologies that further blur the distinction between art and design. Calle Henzel has collaborated with some of the most prominent names in contemporary art including, among others; Richard Prince, Nan Goldin, Mickalene Thomas, Lawrence Weiner, Douglas Gordon, Andelm Reyle, Juergen Teller and artists foundations including Tom of Finland Foundation and The Andy Warhol Foundation for the Visual Arts. His collaborations and own designs has been exhibited at prominent venues such as MOCA, Katonah Museum of Art, Boca Raton Museum of Art, Rossana Orlandi Gallery and The Goss-Michael Foundation.

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CALLE HENZEL Norrhult (Zuma Black Edit), 2013 Diamond Dust / Earth (Corridori) Hand knotted, Persian weave Wool & Silk Custom size / colors upon request

CALLE HENZEL Norrhult (Tapia Silver Edit), 2013 Diamond Dust / Earth (Corridori) Hand knotted, Persian weave Wool & Silk Custom size / colors upon request

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HENZEL STUDIO is pleased to announce the inclusion of Sanford Bigger’s handcrafted rug in an upcoming auction (Q4); Design for good by ELLE DECOR in partnership with Christie’s New York. Proceeds will benefit Housing Works, a New York City based non-profit fighting the twin crises of AIDS and homelessness. The rug is highlighted with a full-page feature in the March issue of ELLE DECOR written by Kate McGregor, photographed by Jens Mortensen, and styled by Laurel J. Benedum. Extract: ”I thought the material might be able to catch the nuances of the original drawing” he explains (Sanford Biggers). The finished hand-knotted, Persian weave rug, titled Ibeji (Duet), features twin carved figures from Yoruba culture that are thought to possess spiritual powers. As in the tradition with Henzel’s ongoing artist series, Biggers received creative carte blanche. ”The invited artists are free to disregard all design priciples and rules” says Joakim Andreasson, the program’s curator. ”It’s essential for them to think of this as an artistic process rather than a design one.”

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Installation view, The New, Los Angeles: SANFORD BIGGERS, Ibeji (Duet), 2019, Edition of 20 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted, Persian weave, 200 x 300 cm (79 x 118 ins), Wool & Silk, High / Low Cut

Sanford Biggers, portrait by Matthew Morrocco © Sanford Biggers

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HENZEL STUDIO is pleased to announce the display of Richard Prince at Rossana Orlandi Gallery, Milan. The rug is featured in the gallery’s spring exhibition.

Richard Prince has since the late 70’s filtered imagery from mass media, advertising and entertainment, and through reappropriation turned them into original works, thereby redefining concepts of authorship, ownership and artistic context. Applying his understanding of representation and the complex transactions involved in the making of art, he evolved a unique signature that is unquestionably his own. His selection of mediums and subject matters, as well as his practice of cropping, editing, and sequencing of images, suggest a uniquely individual logic. Prince refocuses us on the ordinary; he gives it to us repeatedly, in serial form, until it becomes “extra ordinary”. Prince’s deliberate redundancy, and incessant return of the same, plays with our sense of reality. By selecting and re-presenting the already contrived image as a carefully cropped and framed artwork, he brings us closer to its essential fiction, making it more real in the process. Chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has explored the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, soft porn and celebrities. Prince focuses on themes and iconography that, when seen altogether, express an incisive commentary of present-day America. For Henzel Studio, Prince created a unique design informed by a series of collages featuring numbers. Other available Henzel Studio artists featured at Rossana Orlandi Gallery: Ashley Bickerton, Calle Henzel, Carsten Höller, Marilyn Minter, Mickalene Thomas and Jwan Yosef.

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Opposite: RICHARD PRINCE 1-234-567-8910, 2013 Edition of 50 + 1 AP Numbered Accompanied by a Certificate of Authenticity Hand knotted, Persian weave 210 x 300 cm (83 x 118 ins) Wool & Silk Custom size upon request

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Above: RICHARD PRINCE, 1-234-567-8910, 2013 (detail) Image: Portrait, Rossana Orlandi (top) Courtesy of Rossana Orlandi Srl & Surface Magazine

NEW EDITIONS: Workshop Ugo Bassi Isola by Calle Henzel Calle Henzel’s ’Ugo Bassi’ collection finds its origin in the very core of his paper-based artistic endeavors. This assemblage is the result of a meticulous fusion of diverse techniques, including collage, painting, and his distinctive free-form shapes. The ultimate design characteristics are born from an intricate amalgamation of abstract color fields, remnants from his studio’s creative process, discarded cardboard fragments, uneven surfaces, and the unrefined, untreated textures. The meticulous reconstruction of the originals necessitates the use of various materials and sculpted elevations, each carefully chosen to replicate the essence of the initial sources of inspiration. Each piece in the collection serves as a testament to Henzel’s unwavering commitment to capturing the spirit of his artistic journey. This remarkable collection took shape over an extensive five-year period. Its genesis can be traced back to the initial sketches and visionary concepts that were first conceived within a studio located in the heart of Ugo Bassi, in the enchanting district of Isola, Milan.

CALLE HENZEL Farini (166), 2015 / 2020 (in-situ) Workshop Ugo Bassi Isola Hand knotted, Persian weave Wool, Nettle, Lyocell, Linen & Silk High / Low Cut Custom size / colors upon request

CALLE HENZEL Alserio, 2015 / 2020 (detail) Workshop Ugo Bassi Isola Hand knotted, Persian weave Wool, Nettle, Lyocell, Linen & Silk High & Low Cut Custom size / colors upon request

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CALLE HENZEL Alserio, 2015 / 2020 (in-situ) Workshop Ugo Bassi Isola Hand knotted, Persian weave Wool, Nettle, Lyocell, Linen & Silk High & Low Cut Custom size / colors upon request

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The final design characteristics are attributed to a mixture of abstract color fields, studio waste, cardboard scraps, irregular surfaces and raw and untreated surfaces.

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Images from TOM

House, Los Angeles by Daniel Trese

Featured in WWD: HENZEL STUDIO x Tom of Finland collage works by Joakim Andreasson The featured collages are composed of proof prints from vintage Tom of Finland books published by the Foundation in the 80’s, pages from original PHYSIQUE PICTORIAL magazines from the 60’s-70’s and other printed material accumulated over the past thirty years.

Created in collaboration with Tom of Finland Foundation the rugs in the series feature unique collages by Joakim Andreasson and are inspired by the numerous collage works that can be found at TOM House; covering entire pieces of furniture, in nooks on walls and ceilings, and even on the rear end of their vintage car. The featured collages are composed of proof prints from vintage Tom of Finland books published by the Foundation in the 80’s, pages from original PHYSIQUE PICTORIAL magazines from the 60’s-70’s and other printed material accumulated over the past thirty years. The dense works illustrate the vast styles and techniques of the artist, and offer a visually stunning and unfiltered insight into Tom of Finland’s work.

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Installation view Frozen Palms Gallery Los Angeles / Bastad (viewing room) TOM OF FINLAND, Untitled (04), 2020, Chromogenic printed velour carpet

FEATURED IN AD: CALLE HENZEL DIAMOND DUST/EARTH For the past 20 years, Calle Henzel has redefined the creative possibilities of what art rugs can look like, positioning Henzel Studio as one of the most progressive luxury rug brands in the world. The first design from our Diamond Dust collection was launched twelve years ago, and the iconic collection is today installed in the homes of some of the biggest names in fashion and entertainment. The collection based on scientific experiments exposing rugs to the harsh Swedish environment, resulting in design characteristics attributed to erosion; free-from shapes, irregular surfaces and raw and distressed finishes. Designs by Calle Henzel. Hand knotted in persian weave. Customization applicable to all designs.

“We wanted something we haven’t seen a million times, the Iron Man star says, describing the property itself as well as the decorative ministrations of AD100 designer Joe Nahem and the team at New York City-based Fox Nahem.” - Architectural Digest

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CALLE HENZEL DESIGNS FEATURED IN THE HOME OF ROBERT DOWNEY JR. CALLE HENZEL Lomma (W8 Faded Edit), 2015 / 2019 Diamond Dust / Earth Hand knotted Wool & Silk High / Low Cut Custom size / colors upon request

CALLE HENZEL Engelholm Nobu Edit, 2009 (bottom) Diamond Dust / Earth Hand knotted Wool & Silk High / Low Cut Custom size / colors upon request

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CALLE HENZEL Brage (28 Grader Diaz Edit), 2019 (in-situ) (opposite) Diamond Dust / Earth Hand knotted Wool & Silk High / Low Cut Custom size / colors upon request

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CALLE HENZEL Skalderviken, 2011 / 2018 (in-situ) (bottom) Diamond Dust / Earth Hand knotted, Persian weave Wool & Silk Custom size / colors upon request

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A conversation with Asa Henzel Interview by Richard Catty Published in TTA Since its inception, TTA (The Travel Almanac) has featured exclusive contributions by some of the most creative minds of our time, such as Harmony Korine, Collier Schorr, Richard Prince, Juergen Teller, Taryn Simon, Julia Hetta, Inez & Vinoodh, Jeremy Scott, Ryan McGinley, William Gibson, Viviane Sassen, Matthew Barney, Helmut Lang and many others. TTA is published bi-annually and combines the immediacy and visibility of a magazine with the longevity and elegance of a book.

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Back in 1999, Calle Henzel set up his first factory in Sweden as a means to transpose his background in fine art into woven works. By blending new materials and techniques with traditional craftsmanship from Nepal and India, Calle set the foundations for what is today one of the world’s most progressive luxury art rug brands. Calle is known not only for testing the boundaries of creative expression via his own collection, but for pushing established and aspiring artists to expand beyond their usual scope of materials, methods and artistic mediums through collaborations with one of Henzel Group’s four distinct studios. Each studio operates independently of itself whilst sharing a united artistic vision, resulting in an ecosystem of mutually beneficial inputs and outputs. Connecting renowned artists such as Richard Prince, Nan Goldin and Carsten Höller with Calle’s expertise, Henzel Studio Collaborations welcomes the free transmission of artistic style and ethos into rug designs, allowing artists to realise unique concepts in precise detail that can be embraced as a part of their overall body of work. Similarly, Henzel’s A/C.H Program, established in 2020, allows internationally recognised and top emerging contemporary artists to experiment with a new medium within an internationally recognised and prestigious design house. For larger scale commissioned art rugs, there is Henzel A&D, an ambitious arm of the family run business that works with leading interior designers and architects to create stunning customised and often large scale integrated rug designs for public and private spaces. From whichever of the autonomous creative branches they are derived, Henzel art rugs are always “designed through the lens of an artist”, permitting collaborators to fully communicate their ideas creatively and commercially. Currently exploring digital means of communication is the last of the departments within the Henzel family - Frozen Palms Gallery. The LA and Bastad based showrooms have recently launched an online exhibition to allow art fans to bypass the pandemic and immerse themselves in a Marilyn Monroe themed collection of handmade rugs. The original illustrations of Monroe that inspired much of the exhibition were discovered in the octagonal pages of an obscure Andy Warhol marquette in 1994. As well as this online interactive feature titled The Marilyn Maquette, Frozen Palms Gallery is in the midst of planning physical exhibitions of art and design by emerging and established artists in the fields of sculpture, drawing, textile, collage, photography, installations, reliefs and video art, all of which have the potential to influence the artistic direction of Henzel. The Travel Almanac P. 69caught up with family member

Asa Henzel to delve deeper into the inspirations, philosophy and ambitions that define the Henzel Studio group. Rugs traditionally offer a degree of comfort and warmth to a room. How has Henzel expanded on the classic concept of a rug? We continuously push the possibilities of rugs as pertains to their function, aesthetic role and artistic traits and values, especially through artist collaboration. The program constantly prompts us to delve into new opportunities and challenge ourselves creatively. The discussion and ambiguity surrounding whether our rugs should be hung on a wall or laid on the floor is testament to our approach. In which ways does Henzel Studio embrace or reject Swedish design principles? We don’t start our creative process with design principles in mind. Rather, Henzel Studio was established as an extension of Calle Henzel’s artistic experimentation with textiles as an alternative media. With that equation in mind, our values and inspirations are much more founded in art. We are, however, very informed by the rich history of textiles and weaving that originates from western Sweden, where we are based. Henzel Studio Collaborations has worked with notable artists such as Richard Prince and Nan Goldin and estates that include The Andy Warhol Foundation. What sparked Calle’s desire to collaborate and what does he look for in a collaborator? We have always wanted to collaborate with external creative forces. In 2012, curator Joakim Andreasson approached us to establish such a program with an emphasis on contemporary artists. We have since collaborated on rugs with artists that also include Anselm Reyle, Mickalene Thomas, Wilhelm Sasnal, Marilyn Minter, Linder and Carsten Höller among several others. Our general criteria for selecting collaborators are stature, independent voice and an openness to cross-disciplinary practice. Unconsciously and consciously, each artist ends up synergizing with the next. The result is a curation that, when combined, offers a diverse, aesthetically broad and authentic grouping that has taken shape organically over the past ten years. We will soon be releasing rugs by Kim Gordon, Vanessa Beecroft, Jake & Dinos Chapman, Tim Noble & Sue Webster and Katerina Jebb, among others.

How does the A/C.H. program support the development of emerging artists? With A/C.H. we are very adamant about working with emerging artists. We provide a channel for their work to be viewed and acquired through an alternate media, and an audience that they would otherwise not necessarily reach. Can you tell us about a particularly challenging project undertaken by the Henzel A&D group? We do consider challenges as a positive, as it allows us to develop techniques that can only really be acquired through trial, error and perseverance. The examples are countless, but one recent project is a massive rug we developed with Assume vivid astro focus for a commission in China via Kooku Gallery in Basel. It is a variation of AVAF’s initial rug we collaborated on back in 2013. That was already a very complex piece to develop due to the multigeometric composition. This time round, the rug was significantly larger and adapted for wall-space. However, we couldn’t be more pleased with the outcome. The rug is a masterpiece and testament to art and design informing one another. Henzel art rugs have a special way of holding one’s gaze, yet they normally occupy floor space rather than being visible at eye level like many other artforms. How does this affect the subject’s state of mind? A viewer’s natural gaze is naturally trained to anchor on elements other than rugs, but I think visually engaging with materials that are comforting to the eye can certainly soften a person’s mental state. Likewise, objects with undefined traits and functions, which don’t possess a specific call to action such as “sit”, “work” or “organize”, encourage a sense of tranquility. The art rugs of Henzel Studio have taken much inspiration from modern, contemporary and fine art, continually pushing the boundaries of what a rug can be. Do you see the relationship going full circle and Henzel rugs influencing artforms from which they originally took inspiration? We have heard testaments of our rugs influencing artists and designers, especially in the rug industry. There was an instance where a very well known fashion company seemingly adapted our Richard Prince rug as a lead woven artwork for their FW 2015 collection. In relation to whether Henzel affects artforms from which it originally took inspiration, rather than thereP.being a direct 70

synergy, I think we have opened the door for artists to pay closer attention to traditional crafts and explore new natural and sustainable media. Thus, demonstrating that “new” doesn’t necessarily mean high-tech or synthetic. Calle is known for experimenting with different finishes, often drawing from painstaking research into alternative techniques. Can you give any insights into the use of natural erosion and how that translates into the organic aesthetic of much of his work? Calle’s visual language is very much informed by Swedish nature, and the drastic effects that four very distinct seasons have on the environment. For countless years, Calle has left rugs outside in harsh conditions for long periods of time, not only to witness the end-result, but take note of the progressive effect of nature over time. Henzel has studios in Sweden, Italy and the US. How do these different locations influence Henzel’s creative direction? Geography, just as nature, influences Calle’s work tremendously. For example, Calle created one of his latest collections exclusively in a workshop in Isola, Milan. For inspiration, we often visit Sicily where our Italian counterparts operate. For us, Los Angeles is of utmost importance, not only as a 360° perspective on our Swedish habitat, but also to further root our artistic program through extensive planning with our curator Joakim Andreasson. Los Angeles is the location of our gallery, Twentieth, where future exhibitions are in the pipeline. The Marilyn Maquette virtual exhibition is an innovative way of granting access to art during the ensuing pandemic, demonstrating the growing importance of technology as a solution to physical restrictions. Do you see longer term applications of VR, or changes to the way people view art in general? Yes, and I think there are the obvious positives such as reach and visual control. However, I do think it will lead to the art world speeding up even more than anyone has ever anticipated. It seemed like galleries had reached a saturation point with art fairs, but once the pandemic passes, they will also need to create shows to meet the demand for online cycles, which are even speedier. From our end, we are working with a media that has not changed much over the past few centuries. Thankfully, that means we must adhere to the need for time and patience. There are no shortcuts when creating a handmade rug. P. 71

The time capsule left by Andy Warhol, where the maquette was found, was an intriguing way of posthumously prolonging discovery of his artistic output. Has this inspired Calle to experiment with archiving, so that his work might one day encounter a renaissance? I think this digital age is very different from Andy’s day, and ultimately we are all gathering comparable time capsules that exist in clouds. At Henzel, we don’t have the need for an overwhelming physical archive, but we are adamant about documenting our creative processes. We are learning a great deal in this regard throughout the making of our upcoming book. We are also working closely with galleries and museums to secure representation of our art rugs in collections around the world. All that said, Calle is extremely intrigued and interested in the archiving of other artists prior to the digital age and, in addition to Warhol, he sees Kurt Schwitters as a pioneer of embracing artifacts as part of an overall oeuvre. Richard Catty, TTA

Image: CALLE HENZEL, Nausta (Night Edit), 2017 (in-situ, London, 2021) Styling by Alex Kristal, photographer; Nick Rochowski

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IN THE PRESS: FORGE AHEAD NAUSTA (NIGHT EDIT) BY CALLE HENZEL / ELLE DECORATION X ALEX KRISTAL Featured in ELLE Decoration: Sautus (Night Edit) designed by Calle Henzel. Calle Henzel, artist and founder of Henzel Studio, has over the past 20 years developed an impressive body of work of paintings and collages. Since 1999, as a result of experimentation with textiles, Henzel advanced his artistic discourse and started to seamlessly translate works into handmade rugs. Creatively hooked onto the media, he established Henzel Studio, and stands as today’s most progressive manufacturer and designer of contemporary art rugs.

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WINNER OF ARCHIPRODUCTS DESIGN AWARDS: CALLE HENZEL, CASTILIAN (LA PRESA NIGHT EDIT), 2021

Judged and chosen by a jury panel made up of the leading figures in Architecture and Design, we´re pleased to announce that a rug designed by artist and HENZEL STUDIO founder CALLE HENZEL is the winner of Archiproducts Design Awards. The awards set the benchmark for prime quality and innovation in the world of design. The award-winning design is part of Night Editions, a collection that pushes and surpasses the boundaries of rug making to showcase Henzel’s attention to complex craftsmanship Calle Henzel portrait

and progressive innovation.

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CALLE HENZEL, Castilian (La Presa Night Edit), 2021 Night Editions (Aura Patina), Hand knotted, Wool, Mohair & Silk, High / Low Cut

CALLE HENZEL, Castilian (La Presa Night Edit), 2021 (in-situ)

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CALLE HENZEL, Tired Little One (Night Edit), 2015 / 2021 CALLE HENZEL, Kalix Night Edit, 2015 (in-situ, Twentieth, Los Angeles)

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CALLE HENZEL, Hoganas (Night Edit), 2008 / 2021 CALLE HENZEL, Bosco Verticale (Garigliano Night Sky Edit), 2015 /2021

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’A/C.H.’ presents today’s most collectible limited edition carpets by internationally recognized and celebrated emerging contemporary artists.

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Portrait Linda Linko by Juliana Harkko

Established in 2020 with the mission to support artists the A/C.H. collaboration program (part of HENZEL STUDIO) serves as a curated platform for internationally recognized and top emerging contemporary artists to seamlessly translate their work through an alternate media.

Featured in Vogue: “My work always depicts a narrative which revolves around a sensitive person trying to make sense of the world around them.” - Kirk Millar

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The departure point for the rug capsule by Kirk Millar was a series of digital collages by Millar using fragments of 19th century genre paintings sourced from Instagram, also featured as prints on key pieces in his menswear collection for fashion brand Linder NYC. As a seamless translation, the media of printing was also the creative methodology used in developing the rug designs; all made of chromogenic printed velour. Each of the three limited edition rug designs has a distinct colorway and is available in custom sizes.

Installation view Culture-Edit, Los Angeles Image: KIRK MILLAR, Untitled (03) & 02, 2019 Chromogenic printed velour carpet 200 x 200 cm (79 x 79 ins) Custom size upon request

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Curated by Joakim Andreasson and designed in collaboration with Calle Henzel

Stuart Sandford. Sandford has lived and worked in the USA for the last 10 years. He has exhibited his work widely in galleries and museums internationally including The Museum of Contemporary Art Detroit and Centre de la Photographie Genéve. His works has been featured in numerous publications and it appears in many private collections around the world including The Sir Elton John Photography Collection.

STUART SANDFORD, Sebastian, 2019 Edition of 10 + 1 AP Chromogenic printed velour carpet 170 x 260 cm (67 x 102 ins) Custom size upon request Curated by Joakim Andreasson and designed in collaboration with Calle Henzel

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Opposite: LINDA LINKO, Floral, 2020 200 x 285 cm (79 x 112 ins), Edition of 20 + 1 AP, Chromogenic printed velour carpet, Accompanied by a Certificate of Authenticity, Signed and numbered by the artist on CoA, Custom size upon request

A/C.H. is pleased to announce a collaboration with British artist

LINDA LINKO, Malpaso, 2020 200 x 275 cm (79 x 106 ins), Edition of 20 + 1 AP, Chromogenic printed velour carpet Accompanied by a Certificate of Authenticity, Signed and numbered by the artist on CoA, Custom size upon request

LINDA LINKO, Clouds, 2020, 200 x 285 cm (79 x 112 ins), Edition of 20 + 1 AP, Chromogenic printed velour carpet Accompanied by a Certificate of Authenticity, Signed and numbered by the artist on CoA, Custom size upon request (floor)

Curated and designed in collaboration with Calle Henzel

Stuart Sandford’s works appears in many private collections around the world including The Sir Elton John Photography Collection.

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Finnish artist Linda Linko, a key figure in the Helsinki art scene. A/C.H. in collaboration with Frozen Palms Gallery is pleased to present works by Finnish artist Linda Linko, a key figure in the Helsinki art scene. In conjunction with the release of four carpets based on her paitings and works on paper, Frozen Palms Gallery (Los Angeles / Bastad) presents new works shown for the first time, featuring abstract compositions on canvas foremost based on a mixture of gesso, acryl and oil pastel. Linko’s assembled works are formed with diverse hand making techniques of collage, cutting, drawing and painting. Her expression results in tensions between figurative and abstract art, drawing inspiration from her extensive travels.

Opposite: LINDA LINKO, Untitled, 2021 Edition of 20 + 1 AP Numbered Accompanied by a Certificate of Authenticity Hand knotted Wool & Silk High / Low Cut

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LINDA LINKO, Floral, 2020 (in-situ) Edition of 20 + 1 AP Numbered Signed by the artist (CoA) Chromogenic print on velour Tapestry / Carpet Indoor or outdoor use

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SPECIAL PROJECT HENZEL STUDIO is pleased to present a collaboration with Videre Licet; Stefan Lawrence and Daniele Albright. The rug will be one of five unique pieces created based on Videre Licet’s MELTFORMS, a series of glass and metal light sculptures, as an exploration of materiality and luminosity.

“I was born and raised in Los Angeles, so my work is informed by California’s history of modernism, which emphasized minimal forms, and its light and space movement, which emphasized perception and sensory experience. Those are my foundations, but I interpret them through a contemporary sensibility that values asymmetry and other subtle interventions and disruptions of convention.” - Daniele Albright

Opposite, installation view, TWENTIETH EXHIBITIONS Los Angeles VIDERE LICET, Meltfloor 1, 2019 Edition of 10 + 1 AP Numbered Accompanied by a Certificate of Authenticity Hand knotted, Persian weave 225 x 300 cm (88.5 x 118 ins) Wool & Silk High & Low Cut Custom size upon request

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ENQUIRIES info@byhenzel.com +46 708 750404 (INTERNATIONAL) +39 340 9035861 (ITALY) +1 305 833 7275 (USA) A&D ENQUIRIES We offer trade terms to registered interior designers and architects. Please email us at info@byhenzel.com CURATORIAL info@culture-edit.com 859 N Orange Drive Los Angeles, CA 90038, United States SHIPPING info@byhenzel.com +46 763 399900 (INTERNATIONAL) Please contact us regarding white-glove services. PRESS ENQUIRIES info@culture-edit.com +1 323 450 9660

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henzelstudio.com

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