Untitled, 2023 - Fine Art photo print on Baryta Hahnemühle paper, graphite, wax and linseed oil Dipping mind, 2023 - Fine Art print on Hahnemühle paper, shellac ink, ink, gold leaf, safety pin Haleh Redjaian's diverse work includes drawings, textile works, wall paintings and room installations. Her fine, complex abstract constructions are always related to objects, architectural elements or the nature in her immediate surroundings. Starting from geometric structures, she uses their rules to disrupt and fragment the apparent order and thus make it individually experienceable. In the work presented here, Haleh Redjaian symbolically unties the knots of the traditionally woven carpets of her childhood. Memories of the past and the feeling of familiarity form the starting point of transformation. Redjaian transfers the colors of the carpets into the monochrome black of printed paper, which she combines again in hand-cut paper strips to form a textile-like paper fabric. The colors of memory fade, change. What remains are patterns and structures. Born in 1971 in Frankfurt am Main, Haleh Redjaian lives and works in Berlin. She studied art history at the Goethe University in Frankfurt, drawing, printmaking and sculpture at the Royal Academy of Fine Arts in Antwerp and postgraduate studies in fine art at the Higher Institute of Fine Art in Antwerp. Her work has been exhibited internationally, including at: Künstlerhaus Bethanien, Berlin, Museum für Konkrete Kunst, Ingolstadt, Federkiel, Munich, Museum voor Schone Kunsten, Antwerp, BIC Collection, Paris. She was a participant in the Paper Residency! 2023.

O.T. - Collage, cut photo print Her work plays with the possibilities of analog and digital photography. The transition between her snapshots and the motifs staged down to the last detail are often fluid. The medium of the collage is at the center. You can immerse yourself in its atmospheric effect, even if the individual parts can never be completely broken down. Ketuta Alexi-Meskhishvili was born in 1979 in Tbilisi, Georgia. She studied photography at Bard College in Annandale-on-Hudson, New York. Her work has been exhibited worldwide including: Andrea Rosen Gallery, NY; FRAC Haute-Normandie, Sotteville-lès-Rouen, Cologne Art Association; Hanover Art Association; New Museum, NYC; Sprengel Museum, Hanover.

Untitled - Paper collage, oil paint, receipt Johanna Dumet's oeuvre mainly deals with oil painting. She expands this to include other materials, such as papers designed with gouache, which she installs on the canvas. She spontaneously and expressively combines abstract and objective elements in her pictures. This approach is also reflected in her bright color palette. In the work presented here, Dumet exclusively uses paper and paint in the form of a collage. As in many of her works, the artist stages consumerism and decadence in a colorful still life that also shows the downside of pleasure. She shows us the luxury and enjoyment of a richly laid table - and literally serves us the bill for our debauchery right there with it. Johanna Dumet was born in Guéret, France, in 1991 and lives and works in Berlin. She studied fashion design at La Calade in Marseille and applied arts at La Souterraine. Her works are exhibited internationally, e.g. in: Kewenig, Berlin; King Seoul, South Korea; Det Gamle Redningshus, Anholt.

Partition 115, 2018 - Photo-Object, Unique Nachbild 1, 2 und 3, 2022 - Pigment Print on Japan Paper and Hahnemühle Fine Art Papier, framed with museums glass both Ed. 3/5 If you take away all content from photography, what remains? Christiane Feser investigated this question and found: light, shadow and the material paper remains. From this she created her playing field. She started with digital image editing and has increasingly used “real” tools since 2008. She photographs, then folds and cuts the images, scratches, engraves, adds threads and fibers to the surfaces and rearranges everything - just to capture it again through the camera lens. Feser juxtaposes the camera's photographic vision, a reality that "used to be there," with the human vision of the eye. The two-and three-dimensional is interwoven until the photograph is transformed into a “photo object”. The ongoing series Partitions began with foldings of individual papers. Over months, Feser formed new modules from thousands of folded A4 sheets of paper, which she then captured on camera and transferred back into the three-dimensional. In this way she deepened her analytical knowledge of material, light and shadow until she set about developing her very own partitions. Christiane Feser's large-format work Partition 115 in the entrance area thrives on the mastery of the material paper, which pours into the room like a waterfall made of paper strips. Christiane Feser was born in Würzburg in 1977. She studied at the Offenbach University of Design. Her work is shown in exhibitions worldwide, including at the Frankfurter Kunstverein; the Getty Museum, Los Angeles; the Bochum Art Museum; the Palazzo Strozzi, Florence and the Solomon R. Guggenheim Museum, New York. Her works are in the collections of the Guggenheim Museum, New York; at the Minneapolis Institute of Art; in the Mönchehaus Museum, Goslar; in the ZKM Karlsruhe and the Klein Collection. Christiane Feser was the first ever Paper Residency scholarship holder!

Wucht und Vehemenz, 2023 - Mobile crane, poster compilation, tension straps [Für Morgen] - in progression I+II, 2023 - Two relics from Performance 37, poster block, paste, mold, synthetic resin Finja Sander utilizes the medium of performance to highlight ruptures and ambivalences in everyday life. Key questions in her work revolve around the culture of memory, specifically concerning the creation and significance of German monuments. How do we remember, what do we remember, and who or what influences our collective memory? In the work "Wucht und Vehemenz" (Impact and Vehemence), Sander suspends massive paper blocks using a mobile crane. The bundled poster compilations labeled "For Tomorrow" refer to the multimedia series of the same name that Sander presented in 2023, including at the papier & klang Festival at the House of Paper. She specifically cast the poster-artificial resin blocks for this performance. Posters stacked closely together had been altered by environmental influences and had started to develop mold. Sander captures the traces of the past performance, preserves them in synthetic resin, thus creating an immutable piece of memory. Finja Sander was born in 1996 in Hildesheim. She lives and works in Berlin. Sander studied at the University of the Arts, Berlin. Her works have been exhibited in prestigious institutions such as the Hamburger Bahnhof in Berlin and the Museum für Fotografie in Berlin.

Couple G, 2022 - Glazed ceramics, paper mache Lisa Tiemann's abstract sculptures remain in the moment of movement. They are frozen in the moment of bending, curving, stretching and entwining. In her works, the sculptor relates elements made of steel, ceramic and paper to one another and in doing so seems to defy the laws of gravity. The tension between the materials and their different properties, stability and colors is the focus of her artistic practice. Lisa Tiemann has been working on the sculptural works of the Couples series since 2016. She devotes herself primarily to the materials paper and ceramics and consistently explores the limits of material properties. The series was initially based on simple drawn lines, which the artist translated into space. In this way, pairs of sculptures were created that capture the moment of an intimate connection. But Lisa Tiemann also questions the nature of this connection and thus our understanding of it. Her works address both what is attractive and what is repelling, what connects and what separates. The breaks, gaps and shifts between forms are as important as the forms themselves and represent the fundamental components of their understanding of unity. Lisa Tiemann was born in Kassel in 1981 and lives and works in Berlin. She studied at the University of the Arts in Berlin and graduated as a master student in 2008. Her works can be seen regularly in exhibitions at galleries and art associations at home and abroad, including in the Haus am Lützowplatz in Berlin, in the Gewerbemuseum Winterthur, at the Halberstadt Biennale and at Stephanie Kelly in Dresden. Outdoor sculptures were presented in the Schlosspark Stammheim sculpture park in Cologne and in the Eisenberg sculpture park in Austria. Her work will be shown at documenta fifteen as part of the ruruHaus program. She received the Paper Art Award in Bronze at Paper Positions Berlin in 2022.

Untitled, 2022 - Print on archive paper Rachel de Joode stimulates our perception and viewing habits. Hyperrealistic excerpts, which are torn from their original two-dimensional location and occupy the space, position themselves self-confidently in front of the viewer and demand a dialogue. In her work, the artist uses abstract photographic compositions of real surfaces, which she places in new contexts. What particularly appeals to de Joode is “the space between the physical and virtual worlds,” as she herself says. In the work presented here, familiar shapes and textures, such as those of fabric, pasty paint or even human skin, are photographed, fragmented and recomposed. The paper elements seem to bulge out of the wall in uncanny shapes that seem familiar but are not. Rachel de Joode was born in Amersfoort, Netherlands in 1979 and lives and works in Berlin. She studied time-based art at the Gerrit Rietveld Academy, Amsterdam. De Joode currently teaches materialized photography at ECAL (École cantonale d'art de Lausanne). Her works have been presented in numerous solo and group exhibitions in institutions, museums and galleries around the world, including the ICA in Philadelphia, the Henie Onstad Kunstsenter in Oslo, the Museum of Contemporary Art in Rome, the ZKM in Karlsruhe, the Garage Rotterdam, the Nuremberg Art Association and Higher Pictures in New York. She was Paper Residency! participant in 2022.

Untitled, 2023 - Concrete and paper straws Ines Schaikowski observes everyday objects and how we deal with them. In her works she traces the narrative potential that lies within them. She questions how the seemingly insignificant intervenes in the various areas of perception and action and thus influences our thinking, our lives and ultimately our identity. Do people make their everyday lives or does everyday life make people? Schaikowski is particularly interested in the tension between the repeatability, fleetingness and interchangeability of everyday things versus our growing need for individuality. In the objects presented here, fragile paper straws are contrasted with the rigid solidity of the concrete. Removed from their original context of use, this opens up a completely new view of long-known objects that surround us. Like muscle filaments, the colorful straws form the powerful organic interior beneath a seemingly cool, brittle concrete skin. Ines Schaikowski was born in 1981 and lives and works in Wriezen. She studied media studies, media culture and artistic production and research at the Philipps University of Marburg, at the Bauhaus in Weimar and at the Universidad de Barcelona. Individual works from her artistic project Hybride Heimat have been exhibited throughout Europe and received repeated awards. Most recently, works from this were shown in solo exhibitions at the Fundación Fusterin Barcelona and the Kunstverein zu Rostock as well as in group exhibitions at the Marburger Kunstverein, the Museo de la Universidad de Alicante/Spain and the Fundación Vila Casas, Girona/Spain. She was a Paper Residency! scholarship holder in 2022.

Patchwork 43, 2023 - Cardboard and paper on cardboard Patchwork 44, 2023 - Cardboard and paper on cardboard Paper is the material of Cem Bora. Since his childhood, the artist and designer has been influenced by the theme of "textiles," which was very present in his everyday life due to his family background. Even as a teenager, he devoured fashion magazines and engaged with fabrics, threads, and colors. During this time, he developed his paper collages, in which he deliberately combined image content from magazines and newspapers to create new motifs. Interwoven and entangled, grids of paper form in Bora's works. What initially appears as an opaque network takes on a surprisingly familiar look upon closer examination. In his works, Cem Bora uses colorful shopping bags or eye-catching packaging materials, disassembles them, and reassembles them into new structures. In his "Patchwork" works, the artist deconstructs packaging boxes to guide the eye through the dense paper network using strategically placed colored bars. The conceptual common element in his works is the strict selection of his source material: only packaging and bags that have entered his household through actual purchases or mail deliveries are deconstructed and reimagined. Cem Bora was born in Istanbul in 1965 and currently lives and works in Berlin. After completing his education at the "Fashion Institute" of the Lette Association in Berlin, he worked for style offices in Paris and Amsterdam. At one point, he founded his own fashion label. Since 2005, Bora has been exhibiting his paper works in various exhibitions in Berlin, Basel, Paris, and Luxembourg. His works are part of the Modebild-Lipperheidsche Collection in the Costume Library at the Staatliche Museen zu Berlin.

🫤🙂😐, 2021 - Ink and graphite on paper, mounted on a mirror Atem-Studie 2, 2021 - Ink, graphite on paper, mounted on a mirror Cocoon, 2023 - Copper leaf, graphite on paper on wood, oil pastel From music to philosophy to art - Jorinde Voigt's works on paper are not only aesthetically appealing, but are also considered effective carriers of information. The written method of transmitting information, as practiced at universities, was too limited for Voigt, which is why she switched from studying philosophy and literature to visual arts. Inspired by musical notation, she succeeds in dealing with complex philosophical topics through imagery and tactfully applied handwriting. Voigt's cuts in the paper form a rhythm that derives from the living. It is a precise communication about the entirety of our experiences that Jorinde Voigt makes visible in her performative way of working by writing and cutting on paper. Jorinde Voigt was born in Frankfurt am Main in 1977. After studying philosophy and new German literature at the Georg August University of Göttingen, she completed her studies in fine arts as a master student at the University of the Arts with Prof. Katharina Sieverding in Berlin. Voigt is represented, among others, by the König Galerie in Berlin and the David Nolan Gallery in New York. The artist has already exhibited in all international group exhibitions and solo exhibitions in Europe, America and Asia. Voigt is represented in important international collections such as Center Pompidou Paris, Museum of Modern Art New York, Art Institute of Chicago, Kupferstichkabinett Berlin, Bundeskunstsammlung Bonn, Hamburger Kunsthalle and Graphic Collection Munich. Voigt works as a professor of painting/drawing at the University of Fine Arts in Hamburg.

Die Verwelkten 01, 2023 - Cut outs from glued charcoal drawings and prints, vase, cardboard box Serena Alma Ferrario's works are complex and multi-media. In addition to video works, screen prints, photocopies or found everyday objects often find their way into her expansive, atmospheric drawing installations. She deliberately brings drawn characters into dialogue with film sequences and in this way develops her distinctive artistic language. Her work itself is never finished. They are used again and again, rearranged and changed depending on the context in which they are placed. In her, during the Paper Residency! created, work Serena Alma Ferrario breathes life into paper figures drawn through organic cuts. Based on cinematic storytelling, she also conveys stories in images. She stages her object like a theater stage in miniature format, in the background of which a staffage of figures is piled up who - like us - seem to be watching the protagonists' acting on the playing surface. Serena Alma Ferrario was born in Crema near Milan in 1986. The artist has been living and working in Munich since 2021. She studied at the Braunschweig University of Fine Arts, among other things, under the tutelage of Nadine Fecht. In 2017 she was named a master student. Ferrario was awarded, among other things, the master student scholarship from the Braunschweig Cultural Heritage Foundation, the Max Ernst scholarship and the Karl Schmidt-Rottluff scholarship. Her work has been presented in the Hamburger Kunsthalle, the Herzog Anton Ulrich Museum and as a permanent installation in the city of Brühl. She was a Paper Residency scholarship holder! in 2023.

Innere Sicherheit 1, 2008 - Colored paper cut, wood abends, wenn ich schlafen geh´ (Evening, when I go to sleep), 2023 - Colored paper cut, wood Jessica Maria Toliver communicates with paper as if it were a breathing organism. In her dialogue with the material, she incorporates found or manipulated structures, transforming them into paper cuts, drawings, space-oriented installations, and sculptures. In the large-format paper cuts, Toliver presents a juxtaposition of two works from different periods of creation. The work "Innere Sicherheit 1" from 2008 depicts a young woman and her dog in an intimate gesture facing each other, surrounded by a dense, protective abundance of patterns and floral ornaments. As part of a series of works, it negotiates her personal reflection and engagement as a woman and represents a turning point in her artistic career. It delves into the search, discovery, and loss of inner and outer sanctuaries. A status quo. In 2023, Toliver refers to this work. In "abends, wenn ich schlafen geh´" (Evening, when I go to sleep), she presents a woman in a self-assured posture. In front of a minimalist background, she sits as a powerhouse on a mattress. Her right hand is loosely directed towards a dog- or wolf-like head fragment. Indefinite fragments of 14 wolves surround her in a mandorla-like shape. The title of the work refers to the song "Abendsegen" from Engelbert Humperdinck's late romantic opera "Hänsel und Gretel," which, due to its creation time, references the late Romantic/Biedermeier era as a time of paper cutting. In the opera, 14 angels gather protectively around the sleeping children. Jessica Maria Toliver was born in Coburg in 1976. She currently lives and works in Schwerte, North Rhine-Westphalia. After working as an assistant in set design in Dortmund and Berlin, she chose to pursue a career in fine arts in 2008 and has since been working with paper. Her works can be found in museum collections such as the Gustav-Lübcke Museum in Hamm and the House of Paper in Berlin, as well as in the Bürgerstiftung Rohrmeisterei in Schwerte and numerous private collections. She was a fellow of the Paper Residency in 2022.

Meteoritenpapier - Printing paper charcoal, coated matt or glossy Ulrike Mohr has appeared with projects in public spaces. Her works are partly conceptual, partly guided by observations of nature and the nature of the respective place. Drawing, space and time are the thematic aspects of her installations. The quality of the material is just as important as the poetic component of transience that is inherent in many of the substances she uses. Since 2012, Mohr has been increasingly concerned with the process of charcoal burning materials. The three objects in the Meteorite Paper series show various charred papers and plastic-coated compounds. When the material is modified through slow heating, unique objects made of (around 80%) carbon are created. Through charcoal burning, Mohr creates highly musical objects, frozen in motion. Velvety matt surfaces are in the foreground, as vulnerable and delicate to destruction when touched as the surfaces of butterfly wings, but small metallic shiny areas are also visible, or a fragile, dissolving craquelure. Craftsmanship and skill are combined here with the fascination of the seemingly random. They are extremely delicate moments, presented in simple glas boxes whose dimensions correspond to the dimensions of the papers before they were charcoal-burned. The boxes impressively show the different degrees of shrinkage of the leaves. Ulrike Mohr was born in Tuttlingen in 1970. She studied fine art and sculpture at the Berlin-Weißensee Academy of Art; was a master student with Inge Mahn and Karin Sander. Her works are exhibited worldwide: Goethe Institute, Milan; Young Art Wolfsburg; Kreuzberg-Bethanien art space and sculpture park, Berlin; Heidelberg Art Association; WAM Wäinö Aaltonen Museum of Art, Turku/Finland among others.

Once Here, 2021 - Porcelain tableau, erased paper, dried plants The works of the Turkish ceramic artist Burçak Bingöl are created in a labor-intensive process of tracking down, copying and rearranging. Her strong sense of order and interest in patterns are reflected in her ambitious ceramic works, for which she is best known, as well as in her drawings. She draws from Eastern and Western traditions, only to break them again. For example, in the work Broken II, purchased in 2016 for the collection of the Metropolitan Museum of Art, where Bingöl broke many elements painted in the historic tradition of Ottoman and Iznik ceramics into shards and transformed them into a colorful contemporary mosaic object. In this way, she calls for rethinking the boundaries between art and craft, between high and low. When we asked Burçak Bingöl to create ceramics using paper for the House of Paper, this request did not cause any irritation. Paper, ceramics, heat. At first glance, nothing seems to connect these components. It took Bingöl many attempts to combine the various processes of burning and combustion in a single, controlled manner. In the work Once Here, which is modeled on a DIN A-4 sheet, paper is a quotation, a negative form that, similar to Cut Outs, only emerges when it is taken away and disappears, as a space within its boundaries, as the inner form of an outer form visible at second glance. As in real life, what is not there develops a more powerful attraction than what is visible every day. It taps into our imagination and desire. Bingöl thought outside the box and created something extraordinary. Burçak Bingöl was born in Görele/Turkey in 1976. She has a PhD in ceramics and studied photography in New York. Worldwide exhibition presence, including solo projects in New York, Ankara and Istanbul; Fairs and group exhibitions in Dubai, Hong Kong, 15th Istanbul Biennale, 2017. Her works are represented in public collections in Europe, USA, Middle and Far East: 21C Museum, Lexington, KY; Salsali Private Museum, Dubai; Baksı Museum, Bayburt, etc.

Untitled, 2019 - Paper cut, graphite dust, soda glass, fixative The grid principle is Fiene Scharp's artistic device. The delicateness – the condition of her works. She transfers the two-dimensional drawings from all kinds of grid paper into the spatial realm by microscopic cutting. With the almost complete removal of the white spaces, delicate net-like structures are created. These works are permeated by a tension that is quiet and only gradually noticeable: on the one hand there is the same structure of an industrially produced sheet; on the other hand, the repetition is disturbed by the minimal variance and tiny breaks in the manually executed cuts. However, these inevitable breaks, offset curvatures and folds are not a flaw, but rather delicate traces of the individual character of each leaf, which can only be discovered upon closer inspection. Paper is usually a support material for thoughts, calculations, drawings and much more. Fiene Scharp changes our view of the purpose of the leaf and its properties. Through targeted cuts, she removes exactly those areas of the grid paper that are intended for writing on information. The starting point for the work presented are paper cuts made from checked paper, which was coated with graphite. Graphite is a stable form of carbon and one of the basic building blocks of our world. In Fiene Scharp's works, the shiny metallic mineral completely encloses the extremely fine paper cuts. The element begins to flow and with it apparently the paper too, until it solidifies in this endless movement. Delicate lines stand next to crusty surfaces, which in some places reveal the porosity of the graphite dust. Here, Fiene Scharp detaches the two-dimensional pencil or graphite drawing from the paper surface and transforms the pencil lines into three-dimensional space. Fiene Scharp was born in Berlin in 1984. She studied fine arts and literature at the University of the Arts and the Humboldt University in Berlin. In 2012, she received the master student award from the President of the UdK; she was a scholarship holder of the Else Heiliger Fund of the Konrad Adenauer Foundation and the Kunstfonds Foundation. Her works have been featured in exhibitions in Europe, North America and Asia: Center for Recent Drawing, London; Bremerhaven Art Gallery; Stuttgart Art Museum; Museum of Concrete Art, Ingolstadt; Stedelijk Museum's-Hertogenbosch (NL), including at the Paper Positions Berlin art fair, she was awarded the Paper Art Award in Gold in 2021.

Studie zu EIGENTUM, 2023 - Burn marks on paper Studie zu EIGENTUM, 2023 - Burn marks, adhesive tape, and black powder on paper, archival cardboard momentum, 2023 - Pigment print and burn marks on paper Edition of 20 Nadine Fecht's work creates tension in relationships. She uses the medium of drawing in an expanded sense to conceptually engage with current political rhetorics, societal questions, and issues of status. She plays with expectations, disappointments, and experiences. A central question always revolves around the boundary of the individual, their responsibility, and possibilities in relation to their surroundings. The exploration and breaking of materials are of significant importance in Nadine Fecht's work. In the presented "Study on PROPERTY," she uses fire and heat instead of a knife to cut, revealing layer by layer of the paper as a burning line in a drawing gesture. This process gains symbolic strength in breaking down the concept of ownership. In contrast, layers of crumpled and burnt paper are compressed in overwhelming abundance, held together solely by a thin strip of adhesive tape, which wraps around the paper like a fuse. Nadine Fecht was born in Mannheim in 1976 and currently lives and works in Berlin. She studied at the State Academy of Fine Arts in Karlsruhe and was a master's student at the University of the Arts Berlin with Stan Douglas and Lothar Baumgarten. Her works are part of renowned collections such as the Hamburger Bahnhof in Berlin, Kupferstichkabinett Berlin, Kunstmuseum Basel, nbk – Neuer Berliner Kunstverein, Berlinische Galerie, Hamburger Kunsthalle, and the Federal Art Collection. She participated in the Paper Residency in 2023.

Silver Square, 2022 - two types of silver paper on silver PVC Monica Bonvicini is one of the most exciting artists working today. Her cross-media conceptual works address social and political circumstances in a playful, humorous and courageously provocative way, questioning the effects on language and society. Through drawing, sculpture, photography, video and installation, Bonvicini examines the relationship between architecture, power, gender roles and the ideal of freedom. Disclosure and criticism of patriarchal structures, references to queer subcultures and civil rights movements are constantly recurring themes in her works, as well as a site-specific examination and the integration of the viewer's perspective into her artistic process. In the eponymous silver square of the name giving work Silver Square, numerous small matt and shiny squares stand out. Upon closer inspection, the English word “GUILT” emerges from the silver braid. With this work from the series of the same name, Bonvicini refers to her language-based works. It asks us the questions: What is guilt, how do we become guilty and can we free ourselves from guilt? We learn the concept of guilt as children and it shapes the way we live together socially. It is a fundamental idea in legal and religious systems. At the same time, it is an abstract term that is interpreted differently historically and culturally and is always changing. It cannot be clearly defined and leaves room for interpretation. The transitions flow into one another like the letters. In the reflections of the shiny silver material, the distorted image of the viewer appears and directly reflects the concept of guilt on them. Monica Bonvicini was born in Venice in 1965. She studied at the Berlin-Weißensee School of Art and the California Institute of the Arts in Valencia/USA. Since 2003 she has held a professorship for performative art and sculpture at AdK Vienna and since 2017 for sculpture at UdK Berlin. Numerous awards, the most important so far: Golden Lion at the Venice Biennale in 1999 and the Berlin National Gallery Prize for Young Art in 2005. Solo and group exhibitions worldwide, including Bonniers Konsthall, Stockholm; Institute of Chicago; CAC Centro de Arte Contemporáneo, Malaga; Deichtorhallen Hamburg; Fridericianum, Kassel; Hamburger Bahnhof, Berlin; Basel Art Museum; MoMA, New York; MUSEION, Bolzano; Museum Ludwig, Cologne; Palais de Tokyo, Paris, Pinakothek der Moderne, Munich, etc. Important Biennale participations in Berlin (1998, 2004), Venice (1999, 2005, 2011), Vienna Secession (2003). Her sculptures are on permanent display in Queen Elizabeth Olympic Park, London; in front of the Oslo Opera House and in the Istanbul Museum of Modern Art.

Untitled, 2021 - Prints, glue and wax Reduction to the essentials, variation and repetition, forms that the manufacturing process dictates - these are just a few aspects of Goekhan Erdogan's works. Most of the times he works in series and often uses a passport photo as the starting point for the work. The examination of one's own self-portrait is influenced by many philosophical, art-historical and social-historical aspects; The result of these considerations are often extremely minimalist. Erdogan lifts the photographic images out of their formal framework, forces the paper into unusual design states or transforms the motifs until they completely dissolve, until they are only inherent in the work as an abstract idea. One such examination of the material, guided by the production process, is his “Stones” series. What looks like polished stone are actually offset prints of various sizes of his passport photo motif, coated with glue, pressed and dried into a mass. The former motif of the printed surface is completely enclosed in the new form. Erdogan works on the material paper like a sculptor - he shapes, removes and polishes. They remain sensual objects, pure natural forms that are difficult not to touch. Goekhan Erdogan was born in Frankfurt am Main in 1978. He studied at the HfbK Städelschule Frankfurt and the Offenbach University of Design. Winner of the Dieter Haack Award 2011. He has regular solo and group exhibitions in galleries and art associations in Germany, especially in the Rhine-Main area, as well as at various locations in Europe.

Untitled (Test print), 1994 - Drypoint etching, embossed print on uncoated paper Buch, 1994-2020 - Blind book sawn and drilled The artist and sculptor Ursula Sax is considered one of the most remarkable German artists. She began studying sculpture when she was just fifteen years old, became a master's student at the age of 21, and began her freelance career at the age of 25, which she continues to pursue with unbroken stimulating strength to this day. She draws her inspiration from the materials she works with and pushes them to the fullest. Her subject areas and working techniques are as diverse as they are complex and range from drawings, positions in wood and iron, to large sculptures in public spaces such as Looping at the Berlin exhibition center, to textile works and performances. Sax has been working sculpturally with paper as a material since the 1950s and has condensed her work since the 1980s. She can therefore be described as one of the pioneers of paper art. In a radical and aggressive way, she pushed the paper to its limits by tearing and sawing. What should be emphasized is the brutality with which she sawed, pierced and destroyed the plates of her metal prints and rammed the metal wounds into the paper with such force that the paper was injured by the sharp-edged cuts and oozed “white”. Ursula Sax was born in Backnang/Württemberg in 1935. She lives and works in Berlin. Sax studied sculpture at the State Academy of Fine Arts Stuttgart and was a master student at the Berlin University of Fine Arts. She held a visiting professorship there in the 1980s. This was followed by professorships at the HfBK Braunschweig and the HfBK Dresden. She exhibited in various solo and group exhibitions in Germany and Europe. Sax's works are in private and public collections, including the Neue Nationalgalerie Berlin, the Berlinische Galerie, the Kunstmuseum Bonn and the Albertinum Dresden. Sax received the Paper Art Award in Gold at the Paper Position Berlin 2023.

Physiographie, 2022 - Hardcover book, acrylic lacquer In his work, book artist Brian Dettmer addresses one of the challenges of our time: dealing with information. Every day we are swept away by a flood of images and texts in the media. What can we believe, what can we hold on to? A few decades ago, encyclopedias were considered the basis of secure knowledge. Today, these printed reference books are disappearing. By deliberately removing or disclosing information, Dettmer raises the question of the production and stability of supposed facts using the example of the printed book. Using knives, tweezers and surgical tools, he uncovers layer after layer between the book covers. Dettmer uses the book as a container of information, which he reassembles simply by cutting it out. Through this process, which he describes as “revelation through erasure,” completely unique, free stories emerge. Brian Dettmer was born in Chicago, Illinois in 1974 and lives and works in New York City. His works have been, among other things, at the Museum of Arts and Design (MAD), NY; at the Smithsonian Institute's Renwick Gallery, DC; exhibited at the Chicago Cultural Center, IL. In 2014, Brian Dettmer was the subject of a ten-year retro. Dettmer's sculptures are in the permanent collection of several notable institutions, including the Smithsonian American Art Museum, DC, the Art Institute of Chicago Ryerson, and the Yale University Art Gallery, CT. At the Paper Position Berlin 2023 he received the Paper Art Award in bronze.

Cluster, 2021 - Installation of 20 record sleeves, wrapped in cellophane Rosemarie Trockel is one of the most important and influential German conceptual artists of today. For more than three decades she has been one of the world's highest-ranking artists. Her wide-ranging work deliberately evades clear classification and includes collages, video installations, drawings, ceramics and knitted images. These made Trockel world famous from the mid-1980s onwards: the machine-made “wool pictures” and “knitted helmets” with often culturally and politically charged motifs and patterns ironically alluded to the cliché of typical “women’s work” and struck a chord. Trockel repeatedly comments on the role of women in society and in the art world as well as its reversal and sometimes exercises social criticism in a subtle, sometimes humorously provocative way. When asked about paper as a material, Trockel answers the question with packaging art. Here we encounter the material in an already industrially recycled form. “If the cellophane remains sealed, it is art. If you tear it open, it becomes an everyday object.” Trockel provides the museum with a cluster of strictly composed and conceptually arranged LP sleeves. The motifs on the individual packaging objects correspond to each other and the dialogue creates a background noise of association chains. There is no escape; The viewer is forced to deal with encoded image messages and to position themselves. Am I for it? Am I against it? In our modern everyday language, mutilated by icons and emoticons and reduced to simple images, Trockel's complex image fragments touch on the collective subconscious. Their messages are not simple. You get disturbed. Rosemarie Trockel was born in Schwerte in 1952. She studied at Cologne factory schools, but took her own path in the early 1980s. After solo exhibitions in Cologne and Bonn, her work received great attention, especially in the USA, with exhibitions at MoMA, New York; Museum of Contemporary Art, Chicago; Institute of Contemporary Art, Boston, etc. Numerous important awards and exhibition projects, including being the first woman to be exhibited in the German Pavilion at the Venice Biennale in 1999; Sculpture.Projects Münster, 2007, Documenta X and XIII, Kassel. Museum retrospectives, among others, at the MMK Museum for Modern Art, Frankfurt am Main and Museum Ludwig, Cologne. Many works are part of important collections worldwide. 1998-2016 Professorship at the Art Academy in Düsseldorf. In 2012 she was co-founder of the Cologne cultural institution Academy of the Arts of the World. Scholarship holder of the Paper Residency !

Voll Treffer oder „Warum schiesse ich tausende von Fotos“, 2023 - Dartboard, darts, paper ink, filter paper Werkzeuge für die Zukunft, 2023 - Filter paper, paper ink, paper pulp, cotton cord and found objects Papiertinte, 2022/2023 - Waste paper, water, glass, filter paper In her works, Solveig Gubser approaches the respective material in a concentrated yet playful, painterly manner. Drawing from everyday life and nature, she uses the special properties of the materials used to delicately highlight their essences and combine them into her own visual language. For the work presented here, Solveig Gubser collected various papers that she would have originally thrown away after use. In an experimental process, she developed various inks from the paper that had initially become useless. The inks, which were presented for the first time at the Haus des Papier's papier & klang festival in 2023, bring the papers to new life. In a further step, the artist uses the filter papers used during production to conceptually expand her installation. Solveig Gubser was born in Switzerland in 1984. She currently lives and works as a designer and freelance artist in the Netherlands. She completed her studies in industrial design at the University of the Arts, Berlin in 2012. Since 2019 she has been a guest lecturer at the Design School Kolding, Denmark, and the Estonian Academy of Art, Tallinn.

Tears, 2023 - Print on watercolor paper Another game, 2023 - ripped rice paper Annabel Daou's work consists of paper constructions, sound, performance and video. The artist is particularly interested in the phenomenon of language, which she explores in both spoken and written ways. The material paper becomes both carrier and content in her works. It speaks to the viewer and brings them into the work. The work done during the Paper Residency! are concerned with the attempts to capture fleeting moments of recognition. Daou's work process was characterized by the constant game of construction and destruction. Something is lost, but something new is added. The artist uses torn, cut and folded paper as an indicator of this process. Stacks of paper cards, folded paper airplanes and burning paper candles were photographed and printed and then torn up, constructed, photographed and printed again - a constant game of holding on and letting go. Annabel Daou was born in Beirut, Lebanon in 1967. She lives and works in Brooklyn, New York. Her work has been presented internationally, including in: The National Museum of Beirut; Global Art Forum, Dubai; PS1 MoMA, New York; Rijksmuseum Twenthe, Eschede; ISCP, Brooklyn, New York; Irish Museum of Modern Art, Dublin. She was a participant in the Paper Residency! 2023.

Khoda poshto panahet, 2022 - Silk paper on museum board, woven Afshan Daneshvar's artistic works exude a strong contemplative calm. They reflect what the artist infuses into them during their creative process: patience, observational skills, and a meditative immersion. Her work is primarily based on the principle of repetition. She draws inspiration from Persian practice sheets known as "Siah-mashgh," where words and letters are repeatedly written for the sake of perfection, regardless of their meaning. Since 2015, Afshan Daneshvar has primarily focused on using paper as the material for her works. Khoda poshto panahet provides an insight into her calligraphic practice. The title in Farsi translates to "May God be your protector." The artist is not concerned with the religious meaning but rather the role of this nostalgic phrase as a blessing that one grew up with, given by grandparents when leaving the house. The repetition of the words connects the past with the present. It almost seems as if the script is gently flowing from the wall on delicate paper strips, spreading across the floor. Letters come together in an intricate network, forming word clusters and patterns. Experiencing the work means slowing down, observing patiently, and approaching with a sense of calm. Afshan Daneshvar was born in 1972 in Tehran, Iran. The visual artist lives and works in San Francisco. She has participated in numerous exhibitions in Europe and the Middle East, including the Albareh Art Gallery in Adliya, the Farjam Foundation in Dubai, and the Ibu Gallery in Paris. In 2022, she was awarded the Paper Art Award in Gold at the Paper Positions Berlin art fair.

Kitsune Lady, 2021 - Paper maché Leiko Ikemura is one of the most important artists of today. Her paintings and objects revolve around themes of transformation and fusion between humans and nature. The hybrid-like creatures and mythical creatures are always depicted as shadows, frozen in a state of becoming. The outstanding feature here is Ikemura's ability to fuse two very different poles - European and Far Eastern culture. Her quiet landscapes and mostly female hybrid creatures are often an expression of indeterminacy and the depths of human nature. Ikemura's sculptures are mostly made of bronze, terracotta or glass. She now created her very first three-dimensional work on paper for the HdP. To do this, she added two new examples in the bright white material paper-mâché to one of her most famous series of resting heads. The unsmoothed white surface with the delicately modeled facial features quietly refers to the inspiration behind the work - the mythological creature Kitsune, an arctic fox who takes the form of a beautiful, young woman. The presence of her somnambulistic works is always breathtaking. A new component, the physically light, has now been added. This is particularly evident in the Kitsune Lady object – a fragile form, a touch of paper. Time seems frozen. Everything comes to rest. Breath fills us, like life. Leiko Ikemura was born in Tsu, Japan, in 1951. At the age of 21, she moved to Europe to study literature and later painting in Seville. She has received numerous awards, including the August Macke Prize, 2009; German Critics' Prize for Visual Arts, 2001. From 1990 to 2015 she taught at the UdK Berlin. Worldwide exhibitions, including: Kunsthalle Karlsruhe; Basel Art Museum; MCBA Musée Cantonal des Beaux-Arts, Lausanne; Museum of East Asian Art, Cologne; National Museum of Modern Art, Tokyo; Nevada Museum of Art, Reno; Weserburg – Museum of Modern Art, Bremen, etc. Her works are in the collections of Center Georges-Pompidou, Paris; art museums Basel, Bern and Zurich; Nuremberg Art Gallery; Museum Kunstpalast Düsseldorf, among others.

Death can dance - Embossed print with watermark Jana Schumacher's main artistic interest is abstract drawing and spatial installations. Using these two forms of expression - fine and delicate on the one hand, large and space-taking on the other - she processes themes of the unpredictable, finding forms between order and chaos, action and reaction, the connection between art and science, and even natural phenomena, like storms and cyclones, in her works. Jana Schumacher was born in Bonn in 1983. She studied design with a focus on drawing and graphics at the Hamburg University of Applied Sciences. Since 2011, her works have been shown in regular exhibitions, mainly in Germany and the USA. Since 2015, she and her partner Drew Matott have been teaching and workshopping at US universities and other institutions. She was a Paper Residency! scholarship holder in 2021.

Untitled (Lichtzeichenserie), 1996 - 2001 - Handmade paper Paper and light are the media of the artist Barbara Beisinghoff. Inspired by the traditional technique of punctuation in paper called Lichtzeichen (Italian: Filigree), which was first used on behalf of Petrarch in the 14th century, Beisinghoff brings delicate and light-sensitive shapes to handmade paper. The light signs exhibited in the Haus des Papiers were created in 1996, 1997 and 2000 in collaboration with the paper maker Natan Kaaren in Israel's northern Negev desert. A specially developed technique, helped by Kaaren's experience, allowed them to create the 135 x 110 cm paper works by hand. In order to work the light symbols into the paper, Beisinghoff sewed found objects from the Kibbutz onto the screens. As a result, the alienated shapes were imprinted on the paper, creating a unique visual language on the works. The compositions were also created using waterjet drawing and pulp painting while the paper was still wet. Motifs that repeat themselves in the light symbol series, such as the Ashdoda goddess or the two-legged table, are part of Beisinghoff's specially developed iconography. Some of these forms are easier to break down than others - the works invite viewers to spend a longer period of time with them in order to immerse themselves in their symbolic language. Changing the incidence of light also reveals new shapes. Stories are told in which the action unfolds dream-like on the screen and seems to elude linear time. Barbara Beisinghoff was born in Hermannsburg in 1945. She studied art education and painting in Hanover. Her works are exhibited in public collections and museums in Europe, Canada, USA, Peru, Korea and China, among others, in the National Museum Kraków, in The Library of the Congress and in the Museum of Women in the Arts in Washington. She received the Georg Christoph Lichtenberg Prize for fine art, the international Senefelder Prize for lithography, the Mainz City Printer Prize and the Heitland Foundation Art Prize.

Tief Luft holen und Luft anhalten, 2017 - 2 Artist books with 40 word sculptures, written by Wurm Stadt aus Butter, 2023 - Video of the premiere of the canon by the Choir of World Cultures The Austrian Erwin Wurm is one of the most popular artists of today. With sculptures of grotesquely deformed consumer goods, as well as word, text, fabric and performative sculptures, Wurm has been radically expanding the concept of sculpturality since the 1990s. Surprisingly, with humor and irony, he puts everyday objects and actions in a new light, criticizes consumerism and questions our viewing habits. His One Minute Sculptures, in which the audience is invited to guided interaction with everyday objects, are legendary. In his two artist books "Take a Deep Breath and Hold Your Breath" from 2017, Wurm developed sculptures in concise, pictorial and onomatopoeic sentences on paper that emerge in the readers' heads at the moment of reading. On this basis, the musician Rainer Kirchmann composed the four-part canon “City of Butter”, which was premiered by the Choir of World Cultures at the Haus des Papiers at the 2023 papier & klang festival. The word sculpture is transferred from the space of the imagination into the acoustic space. New sounds trigger new thoughts and can expand levels of meaning. Literature, music and sculpture merge. Erwin Wurm was born in Bruck an der Mur/Austria in 1954. He studied at the University of Applied Arts in Vienna. Worldwide exhibition presence: Berlinische Galerie, Berlin; CAC Malaga; IMA Indianapolis Museum of Art; St. Gallen and Wolfsburg Art Museum, Musée d’Art Contemporain, Lyon; Palais de Tokyo, Paris; Solomon R. Guggenheim Museum, New York; Städel Museum, Frankfurt; Taipei Fine Arts Museum, Taiwan; Vancouver Art Gallery; ZKM Karlsruhe, among others, took part in the Venice Biennale in 2011 and 2017. His works are represented in many public collections, such as the Albertina, Vienna; Museum of Modern Art, Frankfurt: MoMA Museum of Modern Art, New York; Tate Modern, London; Walker Art Center, Minneapolis, among others.