EL STUDIO W CALLE HENZEL
MILAN DESIGN WEEK IMPERFE GALLERY CARx ..LOCINQUE GA .ALLERY BRERA
P. 8-15
IMPERFETTOGALLERY / SODALIZI TEMPORANEI
P. 20-31
CARLOCINQUE GALLERY
P. 30-35
CALLE HENZEL: PALAZZO
MILAN DESIGN WEEK
IMPERFETTOGALLERY / SODALIZI TEMPORANEI
Discover the dynamic dialogue between Verter & Erich Turroni and Calle Henzel, where handmade artistry and sculptural forms merge in a bold exploration of materiality and scale — with additional work by Jwan Yosef that further anchors the dynamic.
Imperfettogallery | Alzaia Naviglio Grande 38, Milano
CARLOCINQUE GALLERY
At Carlocinque Gallery in Brera, Imperfettogallery’s exhibition continues, featuring Henzel Studio’s limited-edition rugs by Anselm Reyle and Calle Henzel alongside curated pieces from Imperfettolab’s new collection. A refined exploration of contemporary design, where craftsmanship and art intersect.
Carlocinque Gallery | Via dell’Annunciata 31, Milano
GALLERIA ROSSANA ORLANDI
Henzel Studio proudly presents its latest collaboration with renowned artist Mickalene Thomas at the prestigious RoCollectible exhibition.
Galleria Rossana Orlandi | Via Matteo Bandello 16, Milano
SALONE
DEL MOBILE
At Salone del Mobile, Henzel Studio presents a curated selection of rugs from the Henzel x Atelier Bowy C.D. collection – L’Artisan Bohème, hosted by Imperfettolab.
Hall 24, Stand 35 | Salone del Mobile | Fiera Milano, Rho
IN CONJUNCTION
MOHD, Catania
Henzel Studio presents the new collection Palazzo.
Mohd | Viale Africa, 50, Catania
THANK YOU
We extend our sincere thanks to Emanuela Ravelli & Verter Turroni with family, Imperfettogallery / Imperfettolab, Carlo Cinque at Carlocinque Gallery, Fausto Di Fidio, Rossana Orlandi, Anselm Reyle, Mickalene Thomas, Jwan Yosef, Joakim Andreasson, Mohd and Kalkeriet Contemporary.
COPYRIGHT All designs contained within this catalog are subject to copyright. No artworks, images or designs may be reproduced without prior consent of Henzel Studio. The catalog and its content are subject to copyright law and other protective rights. Henzel Studio reserves all rights for this catalog, in particular for artworks, images, designs, and texts.
© / ® / ™ Henzel Studio
+46 708 750404 (INTERNATIONAL) +39 340 9035861 (ITALY) info@henzelstudio.com henzelstudio.com
Installation view; Imperfettogallery: VERTER TURRONI, Grande Madre, 2024, CALLE HENZEL, Nobu (Black Ice Cut Edit), 2009 / 2017
SODALIZI TEMPORANEI
The exhibition Sodalizi Temporanei at Imperfettogallery in Navigli presented a compelling conversation between the works of Verter & Erich Turroni and Calle Henzel, where the boundaries between craftsmanship and art were redefined. Through their respective practices, these artists engage with materiality, form, and scale in ways that challenge traditional artistic conventions, creating an immersive dialogue that is as much about contrast as it is about harmony, with additional work by Jwan Yosef that further anchors the dynamic.
Verter & Erich Turroni’s work is known for its sculptural and tactile qualities, where raw materials are transformed into conceptual and spatial statements. Their pieces explore the intersection of nature and the human hand, the interplay of rough textures and refined shapes, engaging with the tensions between the organic and the man-made. Calle Henzel’s contributions to the exhibition, particularly through his avant-garde rug designs, introduce an element of textile-based artistry that questions the very nature of what a rug can be. Through his innovative use of color, form, and texture, Henzel elevates the rug from a utilitarian object to a sculptural form that invites new interpretations of scale, pattern, and structure.
Together, the works in Sodalizi Temporanei create a striking fusion of artistic disciplines, from traditional craft to contemporary sculpture, reinforcing the role of materiality as a central narrative in the exploration of space and meaning. This exhibition not only highlights the individuality of the artists involved but also celebrates the ways in which their practices inform and enhance one another, offering viewers a unique opportunity to engage with art in a space that is as much about dialogue as it is about visual impact.
Imperfettogallery, located at Via Alzaia Naviglio Grande 38 in Milan’s Navigli district, is a multidisciplinary exhibition space that embodies the fusion of art, design, and craftsmanship. Adjacent to the Imperfettolab laboratory, the gallery serves as a dynamic platform for experimentation and dialogue, where ideas flow freely and diverse artistic expressions converge.
The gallery’s ethos is rooted in the belief that beauty resides in imperfections, a philosophy that permeates both its curated exhibitions and the creations showcased within. Imperfettogallery is conceived as an indivisible extension of the laboratory, where the processes of making and exhibiting are seamlessly intertwined. This unique synergy fosters an environment of continuous exploration and innovation, inviting visitors to engage with art in a space that is both intimate and expansive.
Installation view; Imperfettogallery: Henzel Studio Collaborations: JWAN YOSEF, Electrical, 2019 and CALLE HENZEL, Hoganas (Silver Edit), 2008 / 2021, alongside works by Verter Turroni, Imperfettolab
Installation view; Imperfettogallery: CALLE HENZEL, Celestial
Object A-C04 (Gravity Edit), 2024
Calle Henzel stands as a trailblazer in the realm of organic, free-form shaped rugs, with his groundbreaking, award-winning Frozen Cut collections renowned for their distinctive shapes and innovative aesthetics. Henzel was the first designer to introduce such collections, effectively setting a new standard within the industry. His pioneering work is the culmination of a meticulous decade-long scientific experiment, during which rugs were exposed to the harsh environmental elements of Northern Sweden. This rigorous process enabled Henzel to draw inspiration from natural phenomena such as erosion, the thawing of snow, and seasonal germination, observing how these elements affected the rugs. The outcomes of this experiment were meticulously translated into his designs, which are intricately woven using centuries-old artisan practices. Henzel’s work embodies a profound connection to nature, seamlessly integrating exceptional craftsmanship and artistry. His creations are a harmonious blend of innovation and tradition. By marrying natural elements with the timeless techniques of hand-knotting, each piece emerges as a testament to both cutting-edge design and timeless elegance. Henzel’s work has been exhibited at prominent venues and museums worldwide.
In ’Le Météore de la Nuit’, Calle Henzel unveils a series of monumental handmade rug designs, each meticulously crafted in his distinctive style. Central to Henzel’s oeuvre is the concept of balance and the principles of physics, inviting viewers to reflect on the intricate interplay between science and art.
Utilizing innovative free-form techniques with precisely cut wool, mohair, and silk at varying levels, each rug embodies Henzel’s refined artistic language developed over three decades. His organic aesthetic is characterized by architectural lines and abstract forms shaped by the laws of gravity, standing as testaments to his unique ability to intertwine art, science, and philosophy in a profound manner.
Henzel’s creations serve dual purposes, suitable for both floor coverings and wall sculptures, all custom-made to clients’ specific measurements. These pieces transcend traditional boundaries, merging art and science, and enhancing discerning contemporary interiors with a brilliant and thought-provoking aesthetic experience. Over the years, Henzel’s work has been showcased in prestigious venues and museums worldwide, earning recognition for its innovative approach.
Installation view; Imperfettogallery: featuring Henzel Studio Collaborations: JWAN YOSEF, Electrical, 2019, alongside works by Verter Turroni, Imperfettolab. Painting by Erich Turroni
Installation view; Imperfettogallery: CALLE HENZEL, Hoganas (Silver Edit), 2008 / 2021, alongside works by Verter Turroni, Imperfettolab, sculpture by Jaime Hayon, Bosa
CALLE HENZEL, Arkipelago Iced Svartloga, 2024 (in-situ, bottom)
CALLE HENZEL, Cortot 1972, 2023 (detail, top), CALLE HENZEL, Cortot 1972, 2023 (left), CALLE HENZEL, Lepic 1973, 2023
The Arkipelago & Atelier Bowy C.D Series
Rooted in Calle Henzel’s contemplative sketches of Stockholm’s frozen archipelago, The Arkipelago Series translates the ephemeral qualities of Nordic seascapes into bold, sculptural rugs. These hand-knotted pieces echo the stark beauty and quiet drama of the northern coastline, capturing movement, light, and texture through raw materiality and organic form.
As much tactile sculpture as functional object, the series blurs the boundary between visual art and interior design. It invites the viewer into a sensorial experience of Nordic nature—its contrasts, tensions, and deep-rooted calm— distilled into a form that transforms both the space it inhabits and the way it is perceived.
Included in the Atelier Bowy C.D. collection, works such as CALLE HENZEL, Cortot 1972, 2023 (top), and CALLE HENZEL, Lepic 1973, 2023 expand on these themes. Featuring varied pile heights and sculpted surfaces, they reflect Henzel’s ongoing exploration of abstraction and form. With sweeping curves and uneven topographies, these rugs challenge traditional ideas of composition and utility. Each piece is an inquiry—into surface, memory, and material — made tangible through exceptional craftsmanship.
Henzel’s approach echoes the architectural subversions of postmodern thinkers like Robert Venturi and Denise Scott Brown, whose work questioned and redefined aesthetic conventions through contradiction and layered meaning. Similarly, Henzel’s rugs operate on multiple levels: they function as décor, yet stand as autonomous artworks—provocations that invite engagement and introspection.
This conceptual layering is further enriched by Henzel’s long-standing connection to the Bowery and its vibrant creative history. Once home to a thriving and transgressive art scene, the area served as fertile ground for artistic disruption. Henzel channels this spirit into his rugs, embedding within them a sense of risk and experimentation. The influence is palpable: spontaneous forms, irregular outlines, and a deliberate rejection of polish recall the anti-establishment energy of the Dada movement, born in Zurich a century earlier. Just as Dadaists upended traditional frameworks to create meaning through absurdity and contrast, Henzel embraces unpredictability, allowing process and intuition to guide his hand.
At the same time, his reverence for craftsmanship places him in dialogue with the Arts and Crafts Movement. Like William Morris, Henzel champions the integrity of the handmade and the intrinsic beauty of natural materials. Each rug is the result of intensive labor and fine detail, bringing together ancestral weaving techniques with contemporary vision. This synthesis — of past and present, of concept and creation—is central to Atelier Bowy C.D., where artistry is not an afterthought, but the very foundation of design.
Through the featured works, Calle Henzel offers more than a visual statement — he invites us to experience the emotional terrain of landscape, memory, and form. These rugs are not simply objects to walk on; they are topographies to navigate, stories to interpret, and living works of art to inhabit.
CALLE HENZEL, Chiaroscuro Foz do Arelho (Silver Coast Lupi Edit), 2024 (in-situ)
CALLE HENZEL, Chiaroscuro Foz do Arelho (Silver Coast Lupi Edit), 2024
Henzel Studio at Carlocinque Gallery
Presented at Carlocinque Gallery in Milan’s Brera district, this exhibition brought together a curated selection of limited-edition rugs by Anselm Reyle and Calle Henzel, alongside sculptural works from Imperfettolab’s latest collection. Together, these pieces offered a refined yet experimental conversation at the intersection of contemporary art and collectible design, emphasizing materiality, process, and form.
On view were three rugs by Anselm Reyle: a hand-knotted edition originally launched at Barneys, Madison Avenue, New York (2013), and two new works from The Dual Terrains (Collaborations) collection. Conceived by Calle Henzel, this ongoing series represents a unique convergence of fine art photography, mixed media, drawing, and textile craftsmanship. Featuring collaborations with a roster of celebrated artists — including Reyle, Mickalene Thomas, Mary McCartney, Katerina Jebb, and Henzel — the collection celebrates hybrid creative practices and the expressive possibilities of textile as an art form.
Also exhibited were three rugs by Calle Henzel from his Turenne series: Yamatane, Shimouma, and Meguro. These works mark a compelling intersection of photography, material intervention, and experimentation, transforming Henzel’s process-driven visual language into tactile, abstract compositions. Derived from his own chromogenic prints, each rug functions as both object and image, capturing the layered evolution of Henzel’s practice.
The series originates from a set of photographs taken by Henzel in a parking lot in Paris, where he documented a white-painted wall marked by the inadvertent brush of passing cars. These incidental urban traces — textural, gestural, and almost painterly—became the foundation for a multi-stage transformation. Through digital manipulation, large-format chromogenic printing, and a physical process involving charcoal, soot, oil, and other materials, Henzel reinterpreted the imagery with intensity and precision. The resulting compositions are monochromatic yet richly detailed, merging the expressive qualities of drawing and printmaking with textile construction.
The titles — Yamatane, Shimouma, and Meguro — reference districts in Tokyo, establishing a conceptual interplay between the works’ Parisian origins and distant geographies. By dislocating the context of the source material, Henzel invites broader reflection on place, memory, and abstraction. This layered titling underscores the transformation of everyday surfaces into meditative artistic expressions and reinforces the dialogue between displacement, materiality, and interpretation.
Designed for both indoor and outdoor settings, all rugs in the exhibition reflect Henzel Studio’s ongoing commitment to functional design grounded in contemporary artistic practice. With non-slip backings and exceptional durability, they move seamlessly between domestic and gallery contexts, blurring the line between utility and aesthetic experience. The use of chromogenic printing and intricate hand-finishing techniques results in a tactile immediacy that invites close engagement, while each piece remains conceptually grounded in process and experimentation.
In uniting visual art, photography, and artisanal craftsmanship, the exhibition at Carlocinque Gallery reaffirms Henzel Studio’s role as a boundary-pushing platform within the contemporary design landscape. The rugs on view are not simply objects of use — they are visual statements, physical traces of creative exploration, and expressions of the evolving relationship between art and function.
Installation
view:
CALLE
HENZEL, Turenne Meguro, 2023 and works by Imperfettolab
In-situ; Carlocinque Gallery: CALLE HENZEL, Turenne Shimouma, 2023, ANSELM REYLE, Untitled, 2019, CALLE HENZEL, Turenne Meguro, 2023 and works by Imperfettolab
In-situ; Carlocinque Gallery: ANSELM REYLE, Untitled, 2012
ANSELM REYLE, Untitled, 2012
ANSELM REYLE, Untitled, 2019
ANSELM REYLE, Untitled, 2019
CALLE HENZEL, Turenne Meguro, 2023
CALLE HENZEL, Turenne Shimouma, 2023
CALLE HENZEL, Turenne Yamatane, 2023
PALAZZO
BY CALLE HENZEL
Presented in collaboration with Mohd Catania, Palazzo by Calle Henzel reimagines historical design idioms through a highly experimental lens. The collection reflects an evolving dialogue between time-honored traditions and contemporary artistic strategies — where decorative motifs are fractured, layered, and ultimately transformed into sculptural floor-based works of art.
Using techniques that include expressive paint spills, gestural splashes, and sculptural pile carving, Henzel treats the rug not simply as a functional object, but as a dynamic surface for visual and tactile storytelling.
The collection’s textures — composed of high and low cuts — recall the tactile intensity of abstract expressionism and echo the gestural freedom of artists like Jackson Pollock, whose drip paintings similarly collapse the boundaries between composition and chaos. The influence of Arte Povera and the raw material experimentation of artists such as Alberto Burri and Lucio Fontana also resonate here, particularly in Henzel’s deconstructive approach to structure and surface.
Each piece in the Palazzo collection operates on the tension between order and disruption. Traditional textile patterns and antiquated structures are abstracted and destabilized, offering a sense of history that has been deliberately unsettled. The result is not nostalgia but a new, contemporary vision — a “fresh vintage” language that refuses to romanticize the past while still drawing from its formal elegance.
In this way, Henzel’s work shares affinities with artists like Christopher Wool and Mark Bradford, who similarly engage with visual layering, deconstruction, and textural complexity to produce work that exists somewhere between painting, collage, and urban archaeology. Like these artists, Henzel repurposes what is familiar — be it decorative forms, surface erosion, or faded craftsmanship — and reconfigures it into something that is simultaneously expressive, cerebral, and deeply physical.
Palazzo expands the boundaries of what a rug can be — beyond design, beyond craft—positioning it within a broader cultural conversation about history, authorship, and artistic process. As tactile as they are conceptual, these works are part of an ongoing practice that resists categorization and invites continuous reinterpretation.
“With Palazzo, I set out to explore how classical forms could be revisited through strategies of disruption and material transformation. The collection engages with the visual language of inherited grandeur, reframing it within a contemporary context that invites ambiguity, erosion, and reinterpretation.
Rather than treating tradition as something to preserve intact, I was drawn to the idea that age, intervention, and even neglect could be generative. The conceptual point of departure was the notion of rugs as silent witnesses — objects that have endured not only decades of restoration, but also periods of abandonment and unsanctioned occupation.
We began the process in the studio by sourcing actual vintage carpets and working with them directly — applying paint spills, layering materials, and embracing deterioration. This experimentation unfolded over more than a decade, evolving through trial and return. These studies became the blueprint for the hand-knotted versions. We essentially worked in reverse, trying to capture that raw immediacy within a medium known for precision and refinement. Because each piece is so intricate to produce, no two rugs are ever exactly the same. Each carries its own subtle irregularities, making every work quietly unique.
As a counterpoint to the collection’s deconstructed elements, we introduced our diamond dust technique to select pieces. The effect is a muted sense of luxury: a tactile contradiction where roughness is softened by shimmer, and distressed history is punctuated by something quietly precious. Altogether, the finished works embody a quietly sophisticated expression of rawness — part punk, part patina — infused with a restrained, contemporary sense of luxury.”
- Calle Henzel
CALLE HENZEL, Untitled 09 (Palazzo), 2015 / 2025
”Altogether, the finished works embody a quietly sophisticated expression of rawness — part punk, part patina — infused with a restrained, contemporary sense of luxury.”
- Calle Henzel
CALLE HENZEL, Untitled 11 (Palazzo), 2015 /
MICKALENE THOMAS AT GALLERIA ROSSANA ORLANDI
In collaboration with the acclaimed artist Mickalene Thomas, Henzel Studio unveiled Untitled #14 (2015 / 2025) at Galleria Rossana Orlandi in Milan. This site-specific installation responded to the gallery’s architectural context, with a dedicated presentation extending beyond the duration of Milan Design Week.
This rug marks Thomas’ third hand-knotted design for the Henzel Studio Collaborations program, which for over a decade has invited leading contemporary artists to reinterpret their visual language through the medium of hand-knotted rugs.
Untitled #14 was first introduced in Henzel Studio Collaborations: 1st Decade at PDC Design Gallery (formerly MOCA West Hollywood) during Frieze Los Angeles. In this new edition, Thomas’ vivid aesthetic—characterized by layered compositions, rich color palettes, and bold spatial dynamics—is reimagined in textile form. The piece furthers her ongoing engagement with materiality and spatial tension, subtly merging fine art and collectible design.
Widely recognized for her redefinition of beauty, power, and cultural identity, Thomas often integrates textiles, wallpaper, and furniture into immersive, mixed-media environments. The translation of her work into a handknotted rug naturally extends this approach, deepening the connection between personal history and collective cultural memory.
Her work is held in major public collections, including The Museum of Modern Art (New York), the San Francisco Museum of Modern Art, the Solomon R. Guggenheim Museum (New York), the Whitney Museum of American Art (New York), and the Art Institute of Chicago.
MICKALENE THOMAS, Untitled #14 (2015 / 2025)
COPYRIGHT
All designs contained within this catalog are subject to copyright. No artworks, images or designs may be reproduced without prior consent of Henzel Studio. The catalog and its content are subject to copyright law and other protective rights. Henzel Studio reserves all rights for this catalog, in particular for artworks, images, designs, and texts.
© / ® / ™ Henzel Studio
+46 708 750404 (INTERNATIONAL) +39 340 9035861 (ITALY) info@henzelstudio.com henzelstudio.com