Now available: Vanessa Beecroft
Beecroft's collaboration with Henzel Studio was initiated in 2018 during a period when Beecroft returned to the origins of her classical training and immersed herself completely into painting and sculpture that materialized her performances and turned them into objects. One of these paintings of a distorted female figure was selected to be appropriated into a hand knotted rug.
Portrait of Vanessa Beecroft 2015 polaroid. Photo by © Federico Spadoni, 2017, courtesy of the artist.
VANESSA BEECROFT, Untitled, 2022 (in-situ)
Please contact us for more information, availabilty and pricing.
Fuorisalone, Milan at Rossana Orlandi Gallery: Henzel Studio x Non-Violence Project / Carl Fredrik Reuterswärd
Coinciding with Salone Internazionale del Mobile, Henzel Studio is pleased to unveil a new collection of rugs designed by Calle Henzel after the sculpture ”Non-Violence” by Swedish artist Carl Fredrik Reuterswärd. Now emblem for The Non-Violence Project, the collection was developed in close collaboration and partnership with the non-profit organization. The sculpture was originally created by Reuterswärd as a memorial tribute to his friend John Lennon after he was shot and killed in New York City in 1980.
Images: CARL FREDRIK REUTERSWÄRD, Non-Violence (The Knotted Gun), 1985, Calle Henzel, The (Hand) Knotted Gun (Charcoal Edit), 2022 (in-situ), Edition of 10, Hand knotted rug, Silk (Bamboo), Mulberry (optional), Free-form, High & Low Cut, 200 x 300 cm (79 x 118 ins), Custom size upon request.
Carl Fredrik Reuterswärd portrait by Lars Saldert.
Featured designs including works by Vanessa Beecroft, Calle Henzel, Kim Gordon and Marilyn Minter
Images: VANESSA BEECROFT, Untitled, 2022 (in-situ), CALLE HENZEL,Castilian (La Presa Night Edit), 2021 (in-situ) Winner of Archiproducts Design Awards, KIM GORDON, Fung dress, 2021 (in-situ), CALLE HENZEL, Kastrup (Closed on Sunday Edit), 2019 (in-situ), MARILYN MINTER, Twilight, 2019 (in-situ),
One of the world’s most progressive rug brands
Henzel Studio's ethos is based on the artistic practice of Calle Henzel. Over the past two decades, he has translated his artistic work into the medium at hand, positioning Henzel Studio as one of the world’s most progressive rug brands. Since the launch of 'Henzel Studio Collaborations' at Barneys New York Madison Avenue in 2014 during Frieze Art Fair, Henzel Studio has developed limited edition art rugs with over thirty leading contemporary artists.
Henzel x Warhol: A series of limited edition hand-knotted art rugs designed by Calle Henzel after Andy Warhol’s Oxidation Paintings (1978)
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.
Images: ANDY WARHOL, Oxidation Painting, 1978, Oxidation Painting (01), 2021, Design by Calle Henzel (in-situ) / 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.
Video featuring Andy Warhol
© / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.
Featuring over 30 world-renowned international artists and artists' estates
Since the launch of 'Henzel Studio Collaborations' at Barneys New York Madison Avenue in 2014 during Frieze Art Fair, Henzel Studio has developed art rugs with over thirty leading contemporary artists including Ashley Bickerton, Sanford Biggers, Olaf Breuning, Scott Campbell, Leo Gabin, Nan Goldin, Douglas Gordon, Carsten Höller, Jonathan Horowitz, Robert Knoke, Helmut Lang, Linder, Bjarne Melgaard, Marilyn Minter, Tim Noble & Sue Webster, Tony Oursler, Richard Phillips, Jack Pierson, Richard Prince, Anselm Reyle, Wilhelm Sasnal, Juergen Teller, Mickalene Thomas, Lawrence Weiner, Jwan Yosef and AVAF. Via 'Henzel Studio Heritage' extensive collections have also been developed in collaboration with artists' estates, that to date include Andy Warhol Foundation for the Visual Arts and Tom of Finland Foundation.
Solo exhibitions of the 'Henzel Studio Collaborations’ program have been mounted at venues that include The Goss-Michael Foundation (Dallas), The New (Los Angeles), Barneys Madison Avenue (New York), Colette Gallery (Paris), Joyce (Hong Kong), Rossana Orlandi (Milan) and included in museum exhibitions at MOCA (Cleveland), Katonah Museum of Art (New York) and Boca Raton Museum of Art (Florida) among others.
Images: TOM OF FINLAND, Untitled, 1978 (in-situ), Helmut Lang, Portrait by Daniel Trese, OLAF BREUNING, Black and white people pattern, 2017 (in-situ)
Highlight: Richard Phillips
“My pictures involve a kind of wasted beauty – that’s always been a thread in my work.”
Phillips has since the early 90’s furthered the appropriation of found imagery into contemporary art by embodying the critical discourse of Pop Art while creating collisions through subject matter and painting techniques. Today his work belongs in the collections of the Museum of Modern Art, New York; Whitney Museum of American Art, New York; Museum of Contemporary Art, North Miami and Tate Modern, London, among others.
Image: RICHARD PHILLIPS, Lip Biter, 1999 (in-situ, Kalkeriet Contemporary / Copenhagen)
Archive: JWAN YOSEF, Object / Object (Exhibition)
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.
FROZEN PALMS GALLERY
Image: Jwan Yosef, portrait