Milan / Basel

Henzel Studio previewed Richard Prince’s 1967 at Imperfettogallery as part of Sodalizi Temporanei. The presentation was supported by Kalkeriet. Based on a work on paper from 2013, the hand-knotted edition repeats fragments of American football jerseys. Changes in pile height carry the cuts and surface marks of the original into the textile.

Atelier Bowy C.D. / Henzel Studio presented hand-knotted editions by nine architects and designers at Le Cavallerizze in an exhibition curated by Kalkeriet. Works by Adam Court, Andrée Cooke, Fernando Mastrangelo and others were installed on walls and across the floor, using the former stables to explore how textiles can shape a space.

Kalkeriet Contemporary, Malmö, presents a group exhibition by Linder Sterling, Carsten Höller, Sanford Biggers, Helmut Lang, Jacques Olivar and Clive Arrowsmith. The gallery and online presentations bring fine art photography into conversation with artist-designed rugs through pose, silhouette and texture.

Imperfettolab and Henzel Studio presented works across two Milan venues. At Imperfettogallery, Calle Henzel’s rugs were shown with sculpture by Verter and Erich Turroni. The presentation at CARLOCINQUE Gallery, supported by Kalkeriet, brought together textile works by Calle Henzel and Anselm Reyle and pieces from Imperfettolab’s Vestigia collection.

Jacques Olivar builds a scene through the relationship between a figure, a setting and light. His photographs draw on the visual language of cinema, allowing a familiar location to acquire the atmosphere of an unwritten story.

This selection considers how Olivar gives a single frame the sense of time unfolding beyond its edges. A pause, an off-camera glance or the distance between a figure and the surrounding landscape leaves the narrative open to the viewer.

In conjunction with Art Basel in Basel, Kalkeriet Contemporary presented Nan Goldin’s Wine and Roses (2014) at its Malmö gallery in 2024.

Developed with Henzel Studio, the hand-knotted wool and silk edition is based on Goldin’s photograph of a dried rose wreath. Variations in pile height trace the petals, bringing the contours of the photograph into relief.

Mary McCartney’s photographs attend to the gestures through which a person reveals something of themselves. Her approach allows movement, vulnerability and the character of a place to shape the image, with a closeness that keeps the subject’s individuality in view.

Presented as photographs on textile, these observations acquire a different physical presence. Scale and the soft surface of velour invite a slower encounter with the image, bringing the immediacy of a photographic moment into the space of the gallery.

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.

Carsten Höller’s practice uses familiar forms to unsettle habitual ways of seeing. Drawing on his background in scientific research, his recurring mushroom works place perception between recognition, uncertainty and play.

Developed with Henzel Studio, Mushroom Carpet (2018) brings these concerns into the scale of an interior. Its free-form outline and changes in pile height give the image a tactile, spatial presence. The focused presentation was held at Kalkeriet Contemporary in Malmö in conjunction with Art Basel.

In conjunction with Art Basel, Kalkeriet Contemporary brings together hand-knotted works by Anselm Reyle and Wilhelm Sasnal, developed with Henzel Studio.

Reyle translates the folds and reflections of metallic foil into a surface of wool and silk. Sasnal starts from a pencil drawing on graph paper, using variations in pile height to give the lines relief. Shown together, the two works trace how a glint of light and a pencil mark can take on a physical presence in textile.