Current & Archive

Adam Court approaches furniture through the relationship between mass and line. Developed with OKHA, his designs bring the weight and variation of natural stone into contact with the precision of metal. Asymmetry becomes a way of holding a composition in balance: a shift in proportion can alter how a table meets the floor or how a chair occupies a room. Form in Balance follows these decisions across tables and seating, considering how traditional making and carefully resolved materials give functional objects a sculptural presence.

Peter Varga works with plaster as a material that can both receive an impression and establish a volume. Drawing on his training in fresco and architectural design, he brings the worked surface away from the wall and into the space of sculpture. Across Mammatus, Penumbra and Hollókő, ridges, hollows and irregular edges make light an active part of the work. In Relief traces this passage from plane to volume, attending to the way a hand-worked material can change the experience of an architectural setting.

Oskar Zięta develops form through the behaviour of metal under pressure. In his FiDU process, two welded sheets expand with compressed air, acquiring volume through the material’s response to a precise construction. Folds and irregular edges retain a record of that transformation. Air and Reflection brings together mirrors and seating in which this approach becomes visible at different scales. Polished surfaces draw the surrounding room into the work, while changes in light and viewpoint continually alter its appearance. The object is encountered through both its physical outline and the space it reflects.

Kalkeriet Contemporary is proud to present a fine art photography exhibition showcasing an exceptional collection of signed and numbered photographs of David Bowie. This carefully curated selection spans over two decades of Bowie’s career, offering a rare and intimate look into the life and transformation of one of the most influential and enduring cultural icons.

The exhibition features works by renowned photographers Clive Arrowsmith, Brian Aris, and Geoff MacCormack, each capturing unique moments in Bowie’s life and career. Their individual perspectives come together to create a multifaceted portrait of an artist whose image was as compelling and constantly evolving as his music.

Viewed together, these photographs invite visitors to look more closely at the relationship between identity, performance, and photographic expression. Each work holds a moment within a much larger creative journey, while retaining the distinctive vision of the photographer behind the lens. For collectors and admirers alike, the exhibition offers an opportunity to experience Bowie’s enduring presence through photography.

Images: BRIAN ARIS, David Bowie on video shoot, Dublin #3, 1991, GEOFF MACCORMACK, David Bowie, Hammersmith Odeon, London, 1973, CLIVE ARROWSMITH, David Bowie and Feathers, original contact sheet, London, 1967

The exhibition explores a little-known aspect of Warhol’s practice while paying homage to his most recognisable subject: Marilyn Monroe. Curated by Joakim Andreasson, it features nine handmade rugs by Henzel Studio, developed in close collaboration with The Andy Warhol Foundation for the Visual Arts.

The collection draws on a maquette Warhol created for an unrealised artist’s book. Its thirty-eight octagonal pages feature cropped details from his celebrated 1967 Marilyn Monroe print portfolio. Discovered in Warhol’s Time Capsule 55 in 1994, the model reveals an unexpected perspective on this familiar image, isolating fragments of Monroe’s portrait as abstract compositions.

Designed by Calle Henzel, the hand-knotted rugs give these compositions a new scale and material presence through colour, texture, and form. Presented alongside reproductions of fourteen Warhol paintings, they explore repetition, abstraction, and deconstruction, creating a dialogue between Warhol’s imagery and contemporary craftsmanship. “The Marilyn Maquette” invites visitors to consider how a recognisable face retains its identity even as it is fragmented, multiplied, and transformed across different media.

Select works from the exhibition: ANDY WARHOL, Marilyn's Lips, 1962, Painting, Acrylic, silkscreen ink and pencil on linen 210.2 × 410.2 cm (82.8 × 161.5 in),  ANDY WARHOL, Marilyn Diptych, 1962, Painting, Acrylic, silkscreen ink and pencil on linen, 144.8 × 205.7 cm (57 × 81 in), ANDY WARHOL, Two Marilyn (Marilyn Twice), 1962, Painting, Silkscreen ink and pencil on linen, 80 × 59.7 cm (31.5 × 23.5 in) 
© /® /™ The Andy Warhol Foundation for the Visual Arts, Inc.

Kalkeriet Contemporary is proud to present “Out of the Shadows,” an exhibition celebrating the fine art photography of Clive Arrowsmith. Featuring Damien hirst,  David Bowie, Andy Warhol, and Warhol Superstars Joe Dallesandro, Jane Forth, and Geraldine Smith, the exhibition brings together portraits that explore the relationship between creativity, identity, and celebrity.

At the centre of the exhibition is a striking portrait of David Bowie emerging from shadow. The image captures the expressive presence of an artist whose capacity for transformation continues to fascinate. Accompanied by further photographs of Bowie, it invites visitors to consider how photography helped shape—and continues to preserve—his extraordinary visual legacy.

Another highlight is a previously unseen portrait of Andy Warhol, presented alongside photographs of the personalities associated with his Factory. Arrowsmith’s portraits of Joe Dallesandro, Jane Forth, and Geraldine Smith offer an intimate glimpse into this influential creative circle, reflecting the individuality and unconventional spirit of its members.

Throughout the exhibition, Arrowsmith’s distinctive photographic perspective draws attention to the individuals behind the familiar faces. Each portrait holds its own atmosphere and presence, bringing viewers closer to figures whose influence extends across music, art, and fashion.

“Out of the Shadows” offers an encounter with these remarkable personalities while celebrating photography’s ability to give lasting form to a fleeting moment.

Kalkeriet had the privilege of curating a site-specific installation featuring works by Verter Turroni, Jack Pierson, Olaf Breuning, and Calle Henzel, presented in dialogue with Henzel Studio Collaborations: 1st Decade at PDC Design Gallery (formerly MOCA’s West Hollywood space), in conjunction with Frieze Los Angeles.

Celebrating ten years of Henzel Studio’s artist-designed rugs, the exhibition brought together over 25 works, including new collaborations with John Waters, Mickalene Thomas, and Anselm Reyle — pushing the boundaries of textile-based artistic practice.

Turroni’s sculptural works offered a powerful counterbalance to the rug installations, bridging material expression across disciplines and highlighting the dynamic tension between object and surface.

Presented at PDC Design Gallery — a venue with a storied history of showcasing radical intersections between art and design — the exhibition followed in the footsteps of past presentations by Rick Owens, Takashi Murakami, and others.

Also featured were works by Vanessa Beecroft, Olaf Breuning, Nan Goldin, Marilyn Minter, Tony Oursler, Richard Prince, Mickalene Thomas, Andy Warhol, and more. Curated by Joakim Andreasson, with exhibition design in collaboration with Calle Henzel.

Image: Exterior of PDC Design Gallery, Los Angeles, during Henzel Studio Collaborations: 1st Decade, 2025.

Kalkeriet Contemporary proudly presents the worldwide debut of a new edition of Helmut Lang’s iconic ‘Untitled’ rug, now resplendent in shimmering silver. This masterpiece, originally conceived in 2013, continues to captivate and inspire with its timeless allure and modern sophistication. The surface and finishing have been crafted through pile heights and material composition. Having made art throughout early adulthood, Lang established a fashion label under his own name in 1978, presented his first collection at the Centre Pompidou in 1986, and achieved global recognition in the field over the following two decades. During those years, Lang maintained his connection to art and undertook collaborations with Jenny Holzer and Louise Bourgeois, among others. He retired permanently from the world of fashion in 2005 to turn to his art full time. With material as departure point, Lang’s recent works explore the tensions between abstraction and figuration, and investigate space beyond the limitations of the human body through sculpture, reliefs, assemblage paintings and collages.

Images: HELMUT LANG,  Untitled (Silver Edit), 2013 / 2023, Edition of 20 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted rug, Silk (Mulberry), High / Low Cut,  HELMUT LANG, Behind, 2012, Sculpture

Clive Arrowsmith approaches portraiture as an encounter in which a sitter can perform, resist or reinvent a public image. Light, pose and framing give each photograph a theatrical charge while preserving the particular presence of the person before the camera.

The selection considers the portrait as a space of collaboration. A gesture or a change of expression can redirect an image that appears carefully composed, allowing the familiar face to become strange, playful or newly exposed.

“Drawings Reappropriated” highlights Tom of Finland’s preparatory drawings and sketches, offering insight into the creative process behind his influential works. Developed in honour of Pride, the exhibition celebrates his enduring contribution as an artist and human rights activist, drawing attention to the studies through which his distinctive visual language took shape.

The translation of these drawings into handmade textiles introduces a new material dimension to his work. Line, gesture, and composition become points of connection between drawing and craft, inviting closer consideration of the preparatory image as a work with its own expressive qualities. Through this change of medium, the exhibition explores how Tom’s imagery can inhabit an interior while retaining its intimate connection to the artist’s hand.

The presentation takes inspiration from the environment and interiors of TOM House in Echo Park, Los Angeles, where Tom lived during the final decade of his life. Home to Tom of Finland Foundation, established in 1984, the house serves as both a guardian of his legacy and a living archive for the erotic arts. His emphatically masculine aesthetic exists alongside varied styles of décor, personal artefacts, rotating exhibitions, and outdoor installations, creating an environment where art and everyday life meet.

This spirit of openness extends to the community surrounding TOM House: a place that challenges shame and judgement while encouraging respect, acceptance, and love through art. “Drawings Reappropriated” carries these values into the exhibition, connecting the intimacy of the drawing process with broader questions of visibility, freedom of expression, and belonging.

Curated by Joakim Andreasson.

Selected work: TOM OF FINLAND, Untitled, 1977. Handmade wool rug, 170 × 240 cm (67 × 94.5 in).

Presented in conjunction with Art Basel in Basel 2026, this group exhibition brings Claude Guillaumin, Matthew Day Jackson and Calle Henzel together around the relationship between image and material. Guillaumin’s Waterproof Mascara Esti Millet (1975) introduces a reading of the figure through framing and gesture. Alongside textile works by Jackson and Henzel, the photograph opens a dialogue between the immediacy of an image, the tactile character of a surface and the scale of a work within a collection.

In conjunction with 3daysofdesign, Copenhagen’s international design event, Kalkeriet presents Oxidation Paintings — a hand-knotted edition developed from Andy Warhol’s iconic Oxidation Paintings (1978). Installed as part of a site-specific presentation at Kalkeriet Contemporary in Malmö / Greater Copenhagen, the work extends Warhol’s exploration of oxidation, materiality, and transformation into textile form.

Through hand-knotting, sculpted pile heights, silk detailing, and shifting textures, the piece acquires a tactile depth that echoes the reflective and unstable qualities of the original series. Variations in surface and sheen introduce a changing interplay of light and shadow, drawing attention to the relationship between the image and its material construction. The translation into textiles offers another way to encounter Warhol’s experimental abstractions, with colour and texture taking on a physical dimension.

Within Kalkeriet’s architectural setting, the work establishes a dialogue with the surrounding space. Its scale and surface invite close observation, revealing details that shift with the viewer’s position and the available light. Bringing together Warhol’s imagery and the considered processes of handcraft, the presentation explores how an artwork can acquire new expression through a change of medium.

Image: Andy Warhol, self-portrait, 1979, ANDY WARHOL, Oxidation Painting, 1978
Oxidation Painting (01), 2021, Design by Calle Henzel (in-situ + detail)
© / ® / ™ The Andy Warhol Foundation for the Visual Arts, Inc.

In “Object / Object,” Jwan Yosef explores the shifting boundaries between painting and sculpture. A conceptual painter, he considers both the physical structure of an artwork and the language through which we interpret it. The word “object” moves between a material thing and an act of resistance, reflecting the works’ unsettled identities.

Through a process he describes as an “undressing of the canvas,” Yosef pulls, folds, and tucks the painted surface, exposing woven linen and wooden stretcher bars. Coated in gesso and white paint, the canvas assumes sculptural forms reminiscent of drapery in Greco-Roman reliefs. These gestures reveal the painting’s underlying anatomy while transforming its familiar structure into something suspended between image and object.

Each work makes the artist’s intervention visible through acts of revealing, concealing, and reshaping. Rooted in the visual language of minimalism, the series examines how objects acquire meaning and how acts of interpretation connect to broader questions of identity, power, and objectification.

Curated by Joakim Andreasson.

Select works from the exhibition:  JWAN YOSEF, Ahmad, 2018, Painting, Oil on linen, 188 × 132 × 5 cm (74 × 52 × 2 in), Framed,  JWAN YOSEF, Duct, 210 x 350 cm ( 83 x 138 ins), Edition of 20 + 1 AP, Numbered, Accompanied by a Certificate of Authenticity, Hand knotted art rug, Silk, High & Low Cut