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Cover: Jwan Yosef portrait


info@henzelstudio.com +46 708 750404 (INTERNATIONAL) A&D ENQUIRIES We offer trade terms to registered interior designers and architects. Please email us at info@henzelstudio.com CURATORIAL info@culture-edit.com 1105 N El Centro Avenue Los Angeles, CA 90038, United States SHIPPING info@henzelstudio.com +46 763 399900 (INTERNATIONAL) Please contact us regarding white-glove services. PRESS ENQUIRIES info@culture-edit.com +1 323 450 9660 henzelstudio.com

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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. © / ® / ™ Henzel Studio © / ® / ™ The Andy Warhol P. 3 Foundation for the Visual Arts, Inc.


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ANDY WARHOL, Oxidation Painting, 1978 Oxidation Painting (01), 2021 (in-situ) Design by Calle Henzel © / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.

Jwan Yosef, portrait

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P. 5 Asa Henzel, portrait

Kim Gordon portrait by David Black


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CALLE HENZEL, Sautus (Night Edit), 2014 (in-situ, London, 2021) Styling by Alex Kristal, photographer; Nick Rochowski

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CALLE HENZEL, Kalix Night Edit, 2015 (in-situ, P. 6 Twentieth)


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CALLE HENZEL, GiacomoP.Carla Ridge, 2020 / 2021 (in-situ) 7

TOM OF FINLAND, Untitled, 1978 (in-situ, Frozen Palms)

HENZEL STUDIO HERITAGE: ANDY WARHOL Henzel Studio is honored to further its collaboration with The Andy Warhol Foundation of 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 P. 9

© / ® / ™ 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 P. 15

© / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.

ANDY WARHOL, Oxidation Painting, 1978 Oxidation Painting (02), 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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In collaboration with FROZEN PALMS GALLERY, HENZEL STUDIO is pleased to announce Object / Object, a virtual 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

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

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

JWAN YOSEF, Electrical, 2019 Edition of 20 + 1 AP Numbered Hand knotted 170 x 300 cm (67 x 118 ins) Silk High / Low Cut P. 25

Asa Henzel portrait (Bastad, 2022)

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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 caught 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 28

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. 29

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: 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. 31

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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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 P. 37

Opposite: Mickalene Thomas portrait by Lyndsy Welgos

Image: CALLE HENZEL, Sautus (Night Edit), 2014 (in-situ, London, 2021) Styling by Alex Kristal, photographer; Nick Rochowski

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IN THE PRESS: FORGE AHEAD SAUTUS (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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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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CALLE HENZEL, Giacomo Carla Ridge, 2020 / 2021 2021 (in-situ)

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CALLE HENZEL, Filippo Sassetti (661 Ugo Bassi, Isola, Milan), 2015 / 2020 (in-situ)

EXHIBITION HIGHLIGHT TOM OF FINLAND: DRAWINGS REAPPROPRIATED July 10 – September 30 2021 Curated by Joakim Andreasson In collaboration with Tom of Finland Foundation Realized by Calle Henzel

The vr-exhibition at Frozen Palms Gallery highlighted Tom of Finland’s preparatory drawings and sketches created as part of the artist’s process in producing his influential works. A selection of these, reappropriated by Henzel Studio into 13 editioned handmade wool and silk rugs in 2014, were exhibited and accompanied by 8 virtual replicas of corresponding drawings made available by Tom of Finland Foundation. The exhibition also included 4 chromogenic printed velour rugs that feature unique Tom of Finland collages made by Joakim Andreasson. The woven works, many unseen or ever reproduced, feature portraits, scenes depicting camaraderie, homoerotic gaze, flirtation and sexual acts. One drawing outlines a man engaged in a boot fetish scene, another a nipple flirtation, whereas a third, a f**k scene, bringing new meaning to love making on a rug. A single hand knotted rug, entirely woven by hand over the course of five months, depicts one of Tom of Finland’s most iconic works of a “leatherman” wearing a cap. The drawing was made as a study for the visual identity of the gay leather bar TOM’S SALOON, the only place Tom lent his name to. Made with comparable intricacy as the original drawing, it is free form and in select areas enhanced with silk to add shine and replicate the effect of polished leather and graphite of the artist’s pencil. Virtual replicas of drawings that correspond to the rugs showcased the artist’s diverse material approaches to his meticulous figurations including sharp pen and marker linework, ink washes, and delicate pencil shading.

TOM OF FINLAND, Untitled, 1980 Handmade carpet, Wool, Edition of 50 © Tom of Finland Foundation

The exhibition were topped off with 4 handmade collages by Joakim Andreasson that are featured on chromogenic printed velour rugs. These are inspired by the numerous collage montages that can be found at TOM House - home of Tom of Finland Foundation - covering entire pieces of furniture, in nooks on walls and ceilings, and even on the rear end of a vintage car. The featured collages are composed of proof prints from vintage TomP.of 50 Finland

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TOM OF FINLAND, Untitled, 1980 Gouache on paper © Tom of Finland Foundation

books published by the Foundation in the 80s, pages from original PHYSIQUE PICTORIAL magazines from the 60s-70s and other printed material accumulated over the past thirty years. The dense works illustrate the vast styles and techniques of the artists, and offer a visually stunning and unfiltered insight into Tom of Finland’s work. The integration Tom of Finland’s work into the media at hand was ignited by the unique environment and interior elements of TOM House. Located in Echo Park, Los Angeles, it is home of Tom of Finland Foundation, guardians of the artist’s body of work and living archive for the erotic arts, and where Tom lived for the last decade of his life. Founded in 1984, it a place where Tom’s relentlessly butch aesthetic and drawings mingle with different styles of décor, artifacts, rotating art displays and open aircinstallations. It is a place that is marked by a community that disarms shame and judgment, and promotes Tom’s message of encouraging respect, acceptance and love through art. This exhibition were developed in honor of PRIDE to highlight Tom of Finland’s undeniable influence as an artist and human rights activist.

TOM OF FINLAND, Untitled, 1978 Hand knotted rug, Wool, Edition of 10 © Tom of Finland Foundation

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TOM OF FINLAND, Untitled, 1978 Handmade carpet (tufted), Wool, Edition of 50 © Tom of Finland Foundation

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TOM OF FINLAND, Untitled, 1978 Graphite on paper © Tom of Finland Foundation



Oxidation Paintings TWENTIETH GALLERY February 17th Los Angeles, CA

TWENTIETH GALLERY @ DesignMiami December 1st Miami, FL / www.designmiami.com

ANDY WARHOL, Self-portrait, 1979 © / ® / ™ The Andy Warhol Foundation for P. the54Visual Arts, Inc.

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