Museum Guide

LINDSEY LANDFRIED


Sometimes It Adds, 2013
Acrylic on paper

Paper has always been Lindsey Landfried's working material. Her medium is drawing; her tools are pens and acrylic paint. Flat or folded; alternating between lying on the floor, hanging on the wall or within the given space, her works defy traditional notions of drawing. She creates small intimate drawings or large-scale constructs of dense nets made up of lines and loop-like markings on paper that often shows traces of an earlier „life“. The time-consuming working process behind the „carpets“ of marks and lines that appear hand-knit stands in contrast to the overall aesthetic that acts reminiscent of the paired-down language of electronic data processing - a code waiting to be cracked.
Yet in a way, Landfried’s paper artworks also remain poetic. Even a massive, monumental object like Sometimes It Adds does not impose itself, but wants to be discovered and conquered. It is a work fuelled by contradictions – the material is rough and brittle, bent, folded, stubborn, forced into the light-shadow order of an accordion. It makes itself small, refusing to stand out. But beware, should it unfold to its full size … Landfried studied Painting at the Sydney College of Arts and Pennsylvania State University. She was a DAAD scholarship holder and guest master class student of Pia Fries and Gina Burdass at the UdK Berlin; received the Pollock-Krasner Award 2014/15, UNC Asheville Works on Paper Biennial Jury Award, 2015. Numerous international exhibition projects. She also is director and curator of the HUB Robeson Galleries at Pennsylvania State University.




ERWIN WURM


tief Luft holen und Luft anhalten / take a deep breath of air and hold in, 2017 two booklets with 40 word sculptures, handwritten by Erwin Wurm The Austrian artist Erwin Wurm is one of the most popular contemporary artists of today. With sculptures of bizarrely deformed consumer goods as well as word-, text-, cloth- or performative sculptures, Wurm has radically expanded the concept of sculpture since the 1990s. In unexpected ways, with humor and irony, he presents everyday objects and actions in a new light, puts consumerism on the spot and questions our viewing habits. his One Minute Sculptures are legendary - the audience is invited to participate in a guided interaction with everyday objects. Erwin Wurm contributed an artist book that describes 40 imaginary sculptures to the HdP. These so-called word sculptures were first presented in 2017 as part of Wurm's exhibition at Kunstmuseum Graz as an extension of his One Minute Sculptures: word-images that consisted of no more than one sentence. When spoken out loud, the words automatically form images in people's minds. The sculpture is created in the individual's own imagination and is only visible to the inner eye.

The HdP has set the text “Stadt aus Butter” to music (composed by Rainer Kirchmann). This kanon will be interpreted and premiered in different locations by different choirs in the coming months. This further processing of the text ties in with Wurm's free, playful work and thinking, and in this way communitates art. Art is everyday life. Art belongs to all of us. Here, paper becomes a means of transporting ideas, encouraging to pass them on and allow them to further develop. Erwin Wurm was born in Bruck an der Mur/Austria in 1954. He studied at the University of Applied Arts in Vienna. In 1987, he received a DAAD scholarship in Berlin. Worldwide exhibition presence: Berlinische Galerie, Berlin; CAC Malaga; IMA Indianapolis Museum of Art; Art Museum St. Gallen and Wolfsburg, 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 and others. Participated at the Venice Biennale in 2011 and 2017. His works are in many public collections, such as Albertina, Vienna; Museum of Modern Art, Frankfurt: MoMA Museum of Modern Art, New York; Tate Modern, London; Walker Art Center, Minneapolis, and others.




MONICA BONVICINI


Legscutout #02, 2013
Collage, analog

Monica Bonvicini is one of the most exciting artists of our day. Her cross-media conceptual works approach social and political conditions in a playfully humorous and courageously provocative way, questioning the effects on language and society. Using drawing, sculpture, photography, video, and installation, Bonvicini examines the relationship between architecture, power, gender roles and the idea of freedom. Recurring themes in her work are the exposure and criticism of patriarchal structures as well as references to queer subcultures and civil rights movements. A further constant in Bonvicinis practice is the critical engagement with the exhibition space and the consideration of the viewer’s perspective.
Legscutout #02 is an analog collage made of interwoven pieces of paper. The works radiate with strategically organised colour patterns and the sequential placement of fragments. A supposed order that is broken again and again. The tightly woven strips of paper depicting fragments of the body are sure to cause discomfort in the viewer. This overwhelming nudity is disturbing and provocative, it is only those who immerse themselves in the imagery that will discover that what is depicted are in fact fragments of hands, elbows, forearms and knees. The seemingly provocative turns out to be a product of our own imagination. Nevertheless, an sense of excess remains. The sheer amount of human body parts is overwhelming, the individual becomes part of an anonymous mass. Monica Bonvicini was born in Venice in 1965. She studied at the Kunsthochschule Berlin-Weißensee and the California Institute of the Arts in Valencia/USA. She has been a professor in Performative Art and Sculpture at AdK Vienna since 2003 and a professor in Sculpture at UdK Berlin since 2017. She has received numerous awards, the most important being so far: Golden Lion of the Venice Biennale 1999 and Prize of the Berlin National Gallery for Young Art, 2005. She has participated in solo and group exhibitions worldwide, incl. Bonniers Konsthall, Stockholm; Institute of Chicago; CAC Centro de Arte Contemporáneo, Malága; Deichtorhallen Hamburg; Fridericianum, Kassel; Hamburger Bahnhof, Berlin; Kunstmuseum Basel; MoMA, New York; MUSEION, Bolzano; Museum Ludwig, Cologne; Palais de Tokyo, Paris, Pinakothek der Moderne, Munich et al. Participated in major Biennals in Berlin (1998, 2004), Venice (1999, 2005, 2011), Wiener Sezession (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.




ASTRID BUSCH


Bloody Bay Oasis #51, 2021 (wall installation)
Rice Paper and aluminum alloy
Inverted Voids #14 und #16, 2021 (framed paper objects)
Archival pigment print on Japanese paper
Inverted Voids #18, 2021
Archival pigment print on Japanese paper, HdP Edition: 2/8

Astrid Busch transformes spaces holistically, but takes a gentle and cautious approach. In her site-specific room installations, she combines photographs with a wide variety of materials – that range from her own photographs to archive finds. She assembles all these parts into multimedia and multilayered presentations, creating space-consuming works that look like a mosaic, and yet, always remain site-specific. In the work Bloody Bay Oasis #51 created during her Paper Residency ! 2020, Busch was inspired by tiny thrown-away objects on the street, and translated these shapes into multi-layered image files, before printing them and processing them further. She experimented with all kinds of stiffeners in order to create works that are inherently stable an can endure as space encompassing objects. She developed a combination of aluminum alloy and Rice Paper. Similar to her previous redesigns of public spaces, she also created a confusing mixture of real and digital layers made from various materials. The result is an object that breaks out from the colourful wall, and yet, remains connected with it. This process of moving from the two- to the three-dimensional was Busch’s way of reclaiming space. Only a year later, the spatial objects have completely changed again and are now Inverted Voids, they are transparent structures that are so translucent that the physical overlays lead to ever new colour and fragment correlations. In this new series of works from 2021, Astrid Busch combines spatial conditions with digital means to create fragile artworks that are reminiscent of the volatility of all being. Astrid Busch was born in Krefeld in 1968. She studied at the Academy of Fine Arts in Nuremberg and the Berlin-Weißensee School of Art, where she was a masters student of Prof. Katharina Grosse. Her works are in collections such as Hetjens – German Ceramic Museum, Düsseldorf; Art Foundation NRW, Düsseldorf; New Berlin Art Association and Museum of Technology, Berlin; Museum of Applied Arts, Gera et al.

Paper Residency ! Berlin 2020 scholarship.
Recipient of the Silver Paper Art Award 2021.




THEA DJORDJADZE


Untitled, 2021
Paper-mâché and plaster

Djordjadze's large-scale installations and sculptures have earned worldwide recognition. She uses constructed and found elements, which she rearranges. Simple, often feminine associated materials such as soap, cardboard, plaster or textiles are combined with “valuable” materials and techniques such as ceramics, gold lacquer or oil painting. It is only upon second glance that the furniture-like objects reveal themselves as fragmentary and, in fact, non-functional. They respond to the architecture of the space, and at the same time, break its order through irrational angles and positions that evoke unexpected spatial, physical and psychological viewing experiences.
At HdP, Djordjadze presents an object made from paper-mâché. Unscrupulously formed, seemingly casual, powerful and raw.
Powerful imagery forces itself upon the viewer.
Paper and plaster.
A little quote of the Berlin Wall?
Simultaneously a border and a state of rampant potency in the midst of provocatively exposed femininity…? It is only upon closer observation that the work consists of many interwoven layers. The base is speckled with colour fragments, only the small piece of the colourful wall remains unharmed. Was there an image painted on the paper-mâché that was then dissolved in water and again reshaped?
Here, too, Djordjadze plays with the non-fulfillment of expectations, the questioning of viewing habits, and the constant change of form.
Thea Djordjadze was born in Tbilisi/Georgia in 1971. She studied at the Art Academies in Tbilisi and later in Düsseldorf in the class of Rosemarie Trockel, and was later a masters student of Trockel. Awardee of the Art Prize of Böttcherstraße Bremen, 2009. Worldwide exhibition presence in Deichtorhallen Hamburg; Kunstmuseum Winterthur; Malmo Konsthall; MoMA PS1, New York; Palais de Tokyo, Paris; Pinakothek der Moderne Munich; Tai Kwun Center, Hong Kong; Venice Biennale 55 and 56; documenta XIII, Kassel and others. Her works are in numerous public collections such as Berlinische Galerie and Neue Nationalgalerie, Berlin; FRAC Bourgogne, Dijon; Lenbachhaus, Munich; Migros Museum, Zurich; MoMA, New York; Museum Ludwig, Cologne; Boros Collection, Berlin.
Participant of Paper Residency ! Berlin 2018 with Rosemarie Trockel.




LARS EIDINGER


Autisic Disco, Berlin 04/02/2021
Paper-object

Lars Eidinger is filled with tremendous creative power and touches people emotionally. He is never indifferent, rather, he encourages controversial points of view. Movement arises all around him. He is the type of individual who will provoke in the most positive sense. A great flaneur who shows us the fragile beauty of our world through his photographs and his alert, loving and analysing gaze that steers towards what appears to be ordinary and random.
Eidinger wouldn't be Eidinger if he didn't ask us the essential, truly important questions. His works are delicate confrontations with life that explore our social coexistence. Eidinger has the ability to convey a feeling of acceptance to the people around him: allowing the individual to be who they are. This is how he allows people to open up. He asks questions about limitations, gender, constrictions and freedom. In doing so, he approaches large topics in an intimate way. What is art?
What is art allowed to do?
Who tells us "This has a value and that has none"?
The play of light and shadow in this small paper object is expressive and quiet at the same time. the tissue paper unfolds delicately like a spread wing. The ephemeral. Autisic Disco can be placed somewhere between Marcel Duchamp's Readymades and the FLUXUS movement, whose advocates such as Joseph Boeys or Wolf Vostell no longer focused on the work itself, but solely on the creative impulse. Those who free themselves from terms like “garbage” and feelings like “disgust” can follow Eidinger into his eternal wonderland of innocence and joy for things, knowledge, the joy of being. Lars Eidinger was born in West Berlin in 1976. He trained as an actor at the Ernst Busch Academy of Dramatic Art, Berlin. He is a long-time member of the Berlin Schaubühne ensemble. His filmography includes critically and publicly acclaimed projects such as All Others, 2009; The Clouds of Sils Maria, 2014; 25 km/h, The Flowers of Yesterday, 2016; the hit series Babylon Berlin, since 2017 and others. Important awards, incl. Grimme Prize 2013, Austrian Film Prize 2016, Bavarian Film Prize 2019; DJ and music producer; appeared in music videos by the band Deichkind. Solo exhibitions with photographs and video works at the Neuer Aachener Kunstverein, 2019 and with Erwin Wurm at Ruttkowski;68, 2020. Also various artistic collaborations with Juergen Teller, John Bock and Aernout Mik.




GOEKHAN ERDOGAN


Untitled, 2020 ("Stones")
Prints, glue, and wax.

Reduction down to the essence, variation and repetition, forms dictated by the manufacturing process - these are just a few aspects of Goekhan Erdogan's artistic interest. He often works in series, and a passport photo is often the starting point for the work. He often works in series, and a passport photo is often the starting point for the work. He deals with the subject of self-portrait in ways that are led by philosophicall, art-historical and social-historical aspects; yet, the result of these reflections is often extremely minimalist. Erdogan lifts the photographic image out of its formal framework, forces the paper into unusual shapes or transforms the motifs until they are completely dissolved and only inherent in the work as an abstract idea.
One such approach to the material, guided by the production process, is his “Stones” series. What looks like polished stone is in reality made up of different-sized offset prints of his passport photo, coated with glue, pressed and dried. The former motif of the printed surface is completely enclosed in the new form. Erdogan works the material paper like a sculptor – he shapes, removes, polishes. What remains are sensual objects, pure natural forms, difficult not to touch. Goekhan Erdogan was born in Frankfurt am Main in 1978. He studied at the HfbK Städelschule Frankfurt and the School of Design Offenbach. Recieved the Dieter Haack Award, 2011. Regular solo and group exhibitions in galleries and art societies in Germany, especially in the Rhine-Main area, and at various locations in Europe.




CHRISTIANE FESER


Partition 115, 2018
Photo-object
Berlin Hell / Dunkel, 2020
Two-layered object, Archival pigment print on FineArt Paper and Japanese paper, Edition: 1/30
Holo 2 / Holo 3 / Holo 7, 2021 Archival pigment prints and Paper Cuts
What remains when you remove all content from a photograph? Christiane Feser pursued this question and came to the conclusion: It is light, shadow, and the paper as a material. From this she created her playing field. Having begun with digital image processing, Feser shifted to the use of „real“ tools in 2008. She takes photos, then folds and cuts the printed images which she then scratches, adds threeds and fibres and rearranges everything - to then capture it again through the lens of her camera. Feser juxtaposes the camera's photographic vision, a reality that "once was there", with human vision. The two-dimensional and the three-dimensional are interwoven until the printed image is transformed into a "photo object“. Initially single papers were folded for the on-going series Partitionen. Feser created more and more modules with the thousands of folded DIN A4 sheets of paper. She captured these with the camera and then brought them back into the three-dimensional space. In this way she deepened her analytical knowledge of material, light and shadow until she started developing her very own „partitions“. These works thrive on Christiane Feser’s excellent mastery of paper as a material. Christiane Feser was born in Würzburg in 1977. She studied at the Offenbach University of Design. Her work is shown in exhibitions around the world, incl. Frankfurter Kunstverein; Getty Museum, Los Angeles; Kunstmuseum Bochum; Palazzo Strozzi, Florence; Solomon R. Guggenheim Museum, New York. Her works are in collections of the Guggenheim Museum, New York; Minneapolis Institute of Art; Mönchehaus Museum, Goslar; ZKM Karlsruhe, Klein Collection, etc.
First artist supported by Paper Residency ! Berlin 2018.




ANDREA GRÜTZNER


Untitled, 2019
Thee-layared paper object

Andrea Grützner is an architectural photographer. The focus of her work is the experience of space – both purely visually and set in context. Through photography, painting and collage, she processes her own perception of place and space. The particular history of a placee plays into her works as much as the question of how architecture affects behaviour and collective identity. „Emotionally stimulating anti-architectural works“ is how the artist herself describes her photographs, which move between reality, illusion and abstraction.
In her artworks, Grützner uses a pure formal language. She first experimented with additional second and third layers during her Paper Residency !, and gave shape to the stacked layers through neat, yet expressive folding. The small work Untitled is particularly fascinating due to the cleverly superimposed layers of perspective, that create the illusion of depth and break out of the physical frame. Andrea Grützner was born in Pirna in 1984. She has a Photography degree from the Bielefeld University of Applied Sciences; received numerous grants and awards. Exhibitions in international solo and group projects and at festivals. Her works are part of the DZ-Bank Art Collection, FOAM Collection, Museum Pfalzgalerie Kaiserslautern collection, State collection for the History of Photography,Rhineland-Palatinate, and others.
Paper Residency ! Berlin 2019 scholarship.




LEIKO IKEMURA イケムラレイコ


Kitsune Woman and Kitsune Lady, 2021
two fine papier mâché objects
Leiko Ikemura is one of the most renowned contemporary artists. Her paintings and objects revolve around themes of transformation and merging of man and nature. The hybrid-like mythical creatures are always fluid; frozen in the state of becoming. Ikemura proves an outstanding ability to merge the polarities between European and Far Eastern cultures. Her quiet landscapes and the mostly female hybrid figures often address themes of uncertainty and the depths of human nature. Ikemura's sculptures are mostly made of bronze and terracotta or glass. For HdP, she created her very first three-dimensional work made of paper. Thus, she has now added two new objects made from delicate white paper mâché to one of her most popular series of dormant heads. The unsmoothed white surface with the delicately modeled facial features quietly refers to the inspiration behind the work – the mythological being Kitsune, an arctic fox who can transform into a beautiful young woman. The presence of Ikemura's dreamlike works is always breathtaking. She has now incorporated a new component of physical lightness into her work. This is particularly evident in the work Kitsune Lady – a fragile shape, a touch of paper. The multi-part object Kitsune Woman uses a bright red tangle of threads as an additional artistic element streaming from the resting head's mouth and connecting the two components with one another.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. Received numerous awards, incl. the August Macke Prize, 2009; German Critics' Prize for Fine Arts, 2001. Taught at the UdK Berlin from 1990–2015. Worldwide exhibitions, incl: Kunsthalle Karlsruhe; Kunstmuseum Basel; MCBA Musée Cantonal des Beaux-Arts, Lausanne; Museum for East Asian Art, Cologne; National Museum of Modern Art, Tokyo; Nevada Museum of Art, Reno; Weserburg – Museum of Modern Art, Bremen and other. Her works are in the collections of Centre Georges-Pompidou, Paris; Art museums in Basel, Bern and Zurich; Nuremberg Art Gallery; Museum Kunstpalast Düsseldorf, and others.




ISMENE


Untitled, 2018–2020
Collages, analog
The Angel, 2021
FineArt Print on Baryt Paper, HdP Edition: 2/20
ISMENE creates her own systems in her collages – also by consciously choosing to work in an analogue way. Touching, experiencing, tearing, and combining the pieces of paper is an essential part of the creative process for her as a trained hand weaver. Her play with materiality and form is exceptionally free. The layers appear like a sketch; the elements put together so delicately and effortlessly, as if they could fall apart again at the slightest touch. This lightness is very peculiar. It testifies to ISMENE's deep understanding of the medium, enriched by her knowledge of hand weaving. It has only been a few years since ISMENE came to art via alternative paths – making both the way she works with the medium and the compositional structures all the more impressive. During her engagement in the addiction service on the streets of Berlin, ISMENE came across many faces and fates – some of them mere fragments, all of them complex. During her work at the addiction help services on the streets of Berlin, ISMENE came across many faces and fates – some of them mere fragments, all of them complex. Inspired by these experiences, she began working in the medum of collage, initially using her own photographs and later also found snippets of people, places, and sculptures. One of her central themes is the depiction of bodies - the rising of expectations through suggested shapes and imagery. However, through cleverly built-in omissions and moments of irritation, she succeeds in breaking these expectations and leaving them unfulfilled; a subtle denial of the voyeuristic gaze. ISMENE was born in Bochum in 1973. She studied Philosophy and completed an apprenticeship as a hand weaver. She draws themes and forms of expression From both disciplines for her artistic practice that started in 2017. She participated in exhibitions in Berlin-based galleries such as KWADRAT, Charis Schwarz, Franzkowiak. Successful presence on Instagram, where she explores subcultures and networks with international art communities.




FEE KLEIß


Fiorella's Wall, 2021 (5 parts-installation)
Pigment und glue on paper; wool, nitrile)
Set, 2021
Archival pigment print with assemblage elements, HdP Edition: 1/12
Fee Kleiß works as a painter and sculptor in an interdisciplinary manner with colours and objects – made from construction foam, knotted branches, latex and even pieces of trash. Her focus lies on the transformation of found materials and the creation of connections between all visible natural and cultural objects from her environment. Topics such as sustainability and utopias for future world designs play an important role. She arranges found and intentionally formed elements into three-dimensional, often brightly coloured image puzzles, that ignite an almost childish joy in discovery. Kleiß constructs, changes, bundles, and takes familiar materials out of their ordinary forms. This mixture of display case and still life is seething with creativity and constructs stories: Humorous, bizarre, disturbing, erotic, beautiful.

During her residency, Fee Kleiß processed prints of metallic and stone structures with bone glue and pigments in such a way that the soft, flexible sheets of paper became hard as stone. All the known characteristics of paper were changed and transformed into their opposite. In Fee Kleiß's hands, the paper turned into solid, self-supporting, seemingly rusty and cracked sheets. The work Fiorella's Wall is an installation in which the tools – wool and nitrile gloves, which she used for rubbing the pigments into the paper, down to the cut-off edges of the prints have become part of the narrative. Fee Kleiß transforms everything around her into art, nothing is left unprocessed.

Fee Kleiß was born in 1984 in Kuchen. In addition to Fine Arts, she initially studied Philosophy in Mainz and then became master student of Valérie Favre at the Berlin University of the Arts (UdK). Received awards and grants, incl. the Regina Pistor Prize (2011), DAAD travel grant for Indonesia (2013), and Dorothea Konwiarz grant. Her works were shown in solo and group exhibitions at Künstlerhaus Dortmund, Kunstverein Siegen, Atelierhof Kreuzberg, Salon Mutlu, Galerie Schwarz Contemporary as well as in galleries and art venues in Copenhagen, Paris and New York. Paper Residency ! Berlin 2021 scholarship.




ALEX LEBUS


Blutlappen, 2020
Water color paper and ink

The central theme in Alex Lebus’ work is „inversion“ - opposites, paradoxes, reversed objects and meanings. She works predominantly with mirrors and letters, oftentimes combined, creating new layers of meaning through a smart interplay of light and dark. For instance, when she transforms the word ME into WE through reflection, and thus, not only achieves a visual change in form, but also a philosophical juxtaposition of the two words. With aesthetic precision and pointed humor, she also takes a stand against the "smooth" surfaces of our consumer-oriented society, and dismantles false thought patterns.
While Lebus' work had previously been focussed on materials such as mirror, glass and steel, she took on the challenge of, for the first time, working primarily with paper during her Paper Residency ! in Munich. Her large-format sculpture Blutlappen (engl. blood(ied) cloth) was created in a process that she herself describes as a painful shedding of skin. Her handling of paper and water creates seemingly flowing structures that are sometimes reminiscent of skin, sometimes of flesh, and sometimes of fabric. As in her previous works, she continues to play with ambiguity and surprising change of thought. Alex Lebus was born in Magdeburg in 1980. She studied Design and Industrial Design in Magdeburg, later also Fine Art at the HfBK in Dresden and in Manchester, UK. She was a master student of Eberhard Bosslet; participated European-wide in exhibitions; grants and awards incl.: the Hegenbarth Scholarship and the Leonardo Scholarship. Artist in Residence in the Q2 Museumsquartier Vienna and others.

Paper Residency ! Munich 2020 scholarship.




GUY LOUGASHI


Lunar Landscapes, 2020
 Lunar Colonie, 2018
Paper-objects sewed and stitched, salt crystals

Guy Lougashi is able to draw from his skills and experiences garnered during his work in stage and costume design as well as various textile handicraft techniques to arrive at ever new unconventional forms of expression. His works bridge the fine line between minimalism and complexity, harmony and disharmony, silence and noise. Lougashi has a particular penchant for working with paper and its potential for various forms of expression. He creates an interplay of layers, shadows, elevations and depths – innovative, exciting, emotional, and thought-provoking. A great sense for poetry and emotion is what characterises Lougashis paper objects. He experiments with the material like no other to create delicate works – he embroiders, stitches, and sews until the fibres of the material seem to dissolve, yet in reality, they become felt. The sketch-like qualities of his works shows the confidence and skill with which he has mastered the material.
In his more recent works he also experiments with the combination of paper and salt. Guy Lougashi was born in Israel in 1976. He is a trained tailor, and came to develop his own artistic practice through working in the Fine Arts, stage, costume- and graphic-design.




MAX MAREK


Terra Incognita, 2008
Papercut object

Max Marek creates unique artist’s books that may be placed between cut-out and relief. Using a knife, cutter or scalpel, he cuts directly into the body of the book like a surgeon. He carves out the image from the pages’ volume. The paper is literally freed from its role as a “mere” surface. Over the years he has created over 300 unique hand-cut books. Repeatedly, Marek finds new ways of overlapping layers of positive and negative cuts and to create surprising effects of depth.
The material used is just as important to the shape and effect of the paper-cut and offers a variety of associations. In his Terra Incognita series, Marek works with pages of a book inscribed with Braille. Unknown worlds arise from the carvings: A topography of a head that emerges through terraced cuts, through layering and recesses; only to, then, gradually dissolve again with the turning of pages. In 2011, this work was the subject of a lecture titled Artiste-chirurgien du livre (engl.: "book art surgeon"), for the conference held at the National Art History Institute (INHA) in Paris. Max Marek was born in New York in 1957. After his illustrator training in Paris, he has been working as a freelance artist with a focus on papercut and Book Art in Berlin since the 1980s. 2011 Guest of Honor at the "3ème Biennale Internationale des Livres d’Artistes". His art books are in renowned library collections around the world: Bibliothèque Nationale de France; German National Library, Leipzig; Kulturforum Art Library and State Library, Berlin; Museum for Applied Art, Frankfurt; Museum for Arts and Crafts, Hamburg; Yale University, New Haven, and others.




KETUTA ALEXI MESKHISHVILI


Narcisse, 2019 (Series: IG filter)
Archival pigment print, Edition: 2/2

Alexi-Meskhishvili's works play with the possibilities of analog and digital photography. The lines between her snapshots and intricately staged photographs are often fluid. The medium of collage is at the center of her artistic expression: In a multilayered manner, she combines public images of buildings or foliage with private photos of her friends and family members creating abstract compositions. One can immerse oneself in the works’ atmospheric effects, even if they can never be broken down into their individual parts. Ketuta's collage Narcisse from the IG filter series shows a digitally melted female face. n the forehead area, we see the rudimentary forms of a child's face with gigantic googly eyes looking up in a submissive way. The rest of the face remains serious and closed. The title may be a play on words. Is it a flower bulb pushing through the frozen ground after the winter has passed? Is it a self-portrait? Are themes of self-harm or self-dissolution being discussed here? The tiny image expresses a tremendous vehemence, attraction and beauty. It is an incomprehensible work, the depth and complexity of which is captivating and constantly challenges the viewer anew. Ketuta Alexi-Meskhishvili was born in 1979 in Tbilisi/Georgia. She studied Photography at Bard College in Annandale-on-Hudson, NY. Worldwide exhibition presence in galleries and museums, incl.: Andrea Rosen Gallery, NY; FRAC Haute-Normandie, Sotteville-lès-Rouen, Kölnischer Kunstverein; Art Association Hanover; New Museum, NYC; Sprengel Museum, Hanover.
Participated in Paper Residency ! Berlin 2018 with Rosemarie Trockel.




ULRIKE MOHR


Meteoritenpapier, 2020–2021
Coated printing paper charcoal, matte and glossy.

Ulrike Mohr has gained attention primarily through art projects in public space. Her work is in part conceptual, in part guided by observations of nature and of the respective location. Drawing, space and time are the thematic aspects of her installations. The characteristic qualities of the materials are just as important as the poetic ephemerality inherent to many of these. Since 2012, Mohr has been increasingly interested in the process of making charcoal from natural and synthetic materials.
The four objects from the Meteoritenpapier series show carbonized paper made from various papers, including coated compounds. By slowly heating the paper, she transforms it into unique carbonized objects (up to 80% carbon). Through the process of charcoal burning, Mohr creates highly musical objects that freeze in motion. The emphasis in on velvety matt surfaces, as vulnerable and easily frail to touch as the surface of a butterfly wing; furtherrmore, mall, metallic, shiny areas become visible as well as a fragile, dissolving craquelure. Here, craftsmanship and skill are paired with the fascination for the seemingly random. The works present extremely delicate moments, displayed in plain Plexiglas boxes the dimensions of which correspond to the dimensions of the papers before burning. Interestingly, the sizes of each box shows the varying degrees of shrinkage in the paper. Ulrike Mohr was born in Tuttlingen in 1970. She studied Fine Art and Sculpture at the Berlin-Weißensee School of Art; was master class student of Inge Mahn and Karin Sander. Her works are shown internationally: Goethe Institut, Milan; Young Art Wolfsburg; Kreuzberg-Bethanien art space and sculpture park, Berlin; Kunstverein Heidelberg; WAM Wäinö Aaltonen Museum of Art, Turku/Finland and others.




JANA SCHUMACHER


Nargis, 2020
Archival pigment print with paints, wax and machine-processed; with hand embossed printing.
Rider on the Storm / Nargis, 2020
Acrylic and watercolor on Archival pigment print, with hand embrossed printing. Unique serial piece 1/4
Jana Schumacher's main artistic interest is abstract drawing and spatial installations. Using these two forms of expression - detailed and delicate on the one hand, large and space-consuming on the other - her works communicate themes of the unpredictable, formal structures between order and chaos, cause and effect, the connection between art and science and even the discussion on natural phenomena such as storms and cyclones. During her Paper Residency ! she attacked her materials. No other residency participant had worked on paper so radically, ruthlessly nor had been as open to experiments as Schumacher. She used tools, machines, heat, liquids, and waxes for her work. She spread out across the space, worked indoors and outdoors. She embossed the paper on stones and scraped on the large-format prints, she worked the surfaces with a grinding machine and hot air; she drove liquids and solids into the surface with such force that these components emerged again on the back of the paper. Schumacher used a wax finish to both seal the work and create partial translucency. The organic and uncontrollable materiality of the wax formed a physical contrast to the edited digital print. Thematically, her works created in the Residency deal with the philosophical attempt of man to bring order and control into the elemental forces of nature. 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, teaching engagements and workshops at US universities and other institutions together with her partner Drew Matott.
Paper Residency ! Berlin 2020 scholarship.




ANGELA GLAJCAR


Terforation 2020-003, 2020
Torn paper object

Soon after completing her studies, the sculptor Angela Glajcar broke away from the traditional materials used in sculpture such as steel and wood. Instead, she has since been creating flowing, often site-specific installations made of paper, light and space. The torn paper webs gain a plastic presence through layering and curvature and, with the help of light-fall, turn into bodies that seem to glow from inside. Glajcar tears holes into the sheets of paper, which allows a view into the work’s structure, or she generously frays the straight and clean paper edges to expose the inner structure of the material. The interplay of light and shadow transforms the works into multidimensional objects with atmospheric effects. All works, whether tiny or room-sized, remain true to the principles of formal rigor, simplicity, transparency and the absence of color – this is what makes Glajcar's artistic style so distinctive. Angela Glajcar was born in Mainz in 1970. She studied sculpture at the Academy of Fine Arts in Nuremberg and was a master student of Tim Scott. Received numerous scholarships and awards, including the Mainz ZONTA Art Prize, Emy Roeder Prize, and the Regional Audience Prize in the Wilhelm Hack Museum in Ludwigshafen. Her works can be seen regularly in exhibitions in museums, galleries and other art venues in Europe, the USA and Hong Kong, incl.: Abbaye d’Alspach, Kayserberg (FR); Andipa Gallery, London; Gutenberg Museum Mainz; State Library and Art Association Speyer; Kunsthalle Koblenz; Kunststation Sankt Peter, Cologne; Museum Wiesbaden; Austrian Paper Museum, Steyrermühl. She realized several Kunst am Bau projects. Recipient of the Bronze Paper Art Award 2021.




ROSEMARIE TROCKEL


Cluster 2021
Installation with 20 record covors, packed in cellophane.
Rosemarie Trockel is one of the most important and formative German concept artists of our day. For over three decades, she has been one of the world's highest-ranking artists in the world. Her wide-ranging work deliberately evades a clear classification and includes collages, video installations, drawings, ceramics, and knitted wool paintings. The latter brought Trockel world-wide fame in the mid-1980s. The machine-knitted “wool pictures” and “knit hats” with well-known and culturally or politically charged imagery and patterns ironically engage with the cliché of traditionally „female labour“ and thereby tapped into the spirit of the time. Consistently, Trockel has commented on the role of women in society and in the art world, reinterpreting it, and expressing social criticism sometimes in a subtle, sometimes in a humorously provocative way. TThe question "paper as material?", is answered by Trockel with packaging art. Thus, we encounter the material in a form that has already been industrially recycled. „As long as the cellophane stays closed, it's art. As soon as you tear it open, it becomes an everyday object.“Trockel provides the museum with a Cluster of strictly composed and conceptually arranged vinyl album covers. The imagery on the individual packaging objects correspond to one another, this dialogue in turn creates a background noise full of associations. There is no escape. The viewer is forced to deal with encrypted image messages and to commit to their own opinion. Do I agree? Do I disagree? In our modern everyday language, mutilated by icons and emoticons, reduced to basic images, Trockel's complex image-fragments touch on the collective subconscious. Their messages are not easy. They are unsettling. Rosemarie Trockel was born in Schwerte in 1952. She studied at art schools in Cologne, but she soon went her own way at the beginning of the 1980s. After solo exhibitions in Cologne and Bonn, her work received great attention in the USA, with exhibitions at MoMA, New York; Museum of Contemporary Art, Chicago; Institute of Contemporary Art, Boston, and others. She holds numerous important awards; major exhibition projects include exhibiting as the first female artist in the German Pavilion at Venice Biennial, 1999; Skulptur. Projekte Münster, 2007, Documenta X and XIII, Kassel. Museum retrospectives, including Museum for Modern Art, Frankfurt am Main and Museum Ludwig, Cologne. Many works are part of renowned public collections around the world. 1998-2016 she was Professor at the Düsseldorf Acadmy of Art. In 2012 she was co-founder of the cultural institution Akademie der Künste der Welt in Cologne.
Participated in Paper Residency ! Berlin 2018.




ELENI WITTBRODT


Ohne Titel, 2021 Cyanotype and embossed print.

Eleni Wittbrodt was born in Bonn in 1990. She studied Fine Arts at the Art University in Mainz in the class of Tamara Grcic and John Skoog. In 2019 she obtained a Masters degree in Fine Art Practice from the School of Art in Glasgow, where she lives and works. Since 2015 she has participated in regular solo and group exhibitions in Germany, the Netherlands, Austria, and Switzerland.

More info to come. Paper Residency ! Berlin 2021 scholarship.




OSKAR HOLWECK


25 VIII 69/1, 1969 31 VII 74/13, 1974 21 VII 76/2, 1976 29 IX 84/1, 1984 Paper; torn, crumpled, layered. The artist and art educator Oskar Holweck is considered to be the very first artist to almost exclusively use white, industrially manufactured paper as his working material. Since the 1960s he remained loyal to his medium for over 40 years. Holweck repeatedly explored new methods of working with the inherent structures of the material for the surface to break into the three-dimensional space. Holweck describes his interaction with paper as follows: “My main concern is to obtain the forms that come from the material itself, and to make tangible but not to imitate the effect of light on surfaces, in cavities and led by the material's own nature" (quote: Oskar Holweck. Museum Sankt Ingbert, 1995) By tearing, cutting, creasing, crumpling, pressing, compressing, scoring, piercing, folding … he created delicate paper-tears and -cascades or multilayered collages using glue. Holweck's intensive working process is also mirrored in his work titles, which he replaced with production dates and numbering. Oskar Holweck (1924-2007) is one of the most important German exponents of Concrete Art after 1945. As a student of Boris Kleint, he was close to the Bauhaus tradition. He later developed his own influential Design theory, which was put on display in the highly acclaimed exhibition“Seeing”, shown in Germany, Great Britain, and Switzerland. Holweck remained loyal to his home in Saarland throughout his life and taught at the local academy. In 1972, Holweck was awarded the art professorship by the Saarland government; in return, he repeatedly turned down invitations from other art universities. Around 1958 Holweck was for a short time involved with the artist group "Zero" founded by Heinz Mack and Otto Piene in Düsseldorf, and took part in important ZERO exhibitions. Overall, Oskar Holweck took part in over 400 national and international solo and group exhibitions; his works are now represented in important public collections.




BURÇAK BINGÖL


Once Here, 2021
Ceramics, erased paper, dried plants

The works by the Turkish ceramic artist Burçak Bingöl are created in a labor-intensive process of finding, copying and rearranging. Her pronounced sense for order and her interest in patterns influence her ambitious ceramic works, which she is best known for, as well as her drawings. She draws from both Eastern and Western traditions, only to subvert these subsequently. For example, in Bingöl's her work Broken II, which was purchased for the Metropolitan Museum of Art permanent collection in 2016, in which a number of elements, painted in the historical tradition of Ottoman and Iznik ceramics, were broken into pieces and transformed into a colorful contemporary mosaic piece. An example of this can be found in the work Broken II which was perchased by the Metropolitan Museum of Art for their permanent collection in 2016. For this work Bingöl broke ceramics that were painted in the Ottoman and Iznik tradition into pieces to then create a colourful contemporary mosaic piece from the shards. In doing so, she calls on us to rethink the boundaries between art and craft, between high and low.Upon asking Burçak Bingöl to create a ceramic work with the medium of paper for Haus des Papiers, the artist was in no way irritated. Paper, ceramics, heat. At first glance, these components seem incompatible. Indeed, it took Bingöl many attempts to unite the various processes of burning and incinerating in a controlled manner into a single form. In the work Once Here, modelled on the format of an A4 sheet, paper is merely present as a quotation, a negative form that, similarly to papercuts, only takes shape when it is extracted and dissolved. It exists as space within a boundary, as an inner form of an outer shape that is visible only at a second glance. As in real life, the non-existent exudes a more powerful attraction than what is actually visible. It speaks to our imagination and longing. Bingöl let her creativity run free 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, incl. solo projects in New York, Ankara and Istanbul; Art fairs and group exhibitions in Dubai, Hong Kong, 15th Istanbul Biennale, 2017. Her works are in public collections in Europe, USA, the Middle and Far East: 21C Museum, Lexington, KY; Salsali Private Museum, Dubai; Baksı Museum, Bayburt, et al




FIENE SCHARP


Ohne Titel, 2021
Papercut objects
The grid principle is at the center of Fiene Scharp’s artistic practice. Intricacy is the condition of her works. She translates diverse two-dimensional grid paper drawings into the third dimension by means of microscopic cut-outs. By almost entirely removing the white spaces, she creates fragile, net-like structures. These works are charged with a tension that is quiet and only after some time becomes evident: on the one hand there is a repetitive structure of an industrially produced page and on the other hand we see the disruption of this monotony through minimal variance and small fractures in the manually executed cuts. These inevitable fractures, slight bulges and folds, however, are not flaws, but rather delicate traces of the individual character of each sheet, that want to be discovered only on closer inspection. In the works shown at HdP, the cuts often remove exactly those areas intended to be filled with information. Paper is usually a carrier for thoughts, calculations, drawings, also for art and many other things. Fiene Scharp challenges our view on the purpose of these sheets of paper. Sheets of paper are meant to serve a purpose. This is especially true for paper used in offices and archives. In the small sized works, the artist focuses on so-called office papers and gives them a completely new meaning. In the larger work, she frees a sewing pattern from the blank paper conventionally surrounding it. In contrast to the office papers, what remains here is a delicate web of information. Everything superfluous has been removed, thus directing one's gaze to the colored lines, to the pure function, to these lines’ right to exist. 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 University of the Arts President's Master Student Award; scholarship holder of the Else-Heiliger-Fonds of the Konrad-Adenauer-Stiftung and the Stiftung Kunstfonds. Her works were shown in exhibitions in Europe, North America, and Asia incl. Center for Recent Drawing, London; Art gallery Bremerhaven; Stuttgart Art Museum; Museum for Concrete Art, Ingolstadt; Stedelijk Museum 's-Hertogenbosch (NL), and other. Recipient of the Gold Paper Art Award 2021.




GÜNTHER UECKER


Untitled, 1999 Handmade paper, embossed. Günther Uecker is one of the most successful German painters and object artists. Over several decades, Uecker has moved between various media: painting and object art, installations aw well as stage sets and films. Today, Uecker is particularly known for his nail pictures and nail objects, which were first created in the late 1950s. Uecker works three-dimensionally with nails by fitting everyday objects such as furniture or musical instruments with nails. Uecker also creates relief-like nail pictures by embossing nails on paper. Sometimes densely and sometimes sparsely arranged on the work, sometimes lying like compass needles, sometimes only visible as reliefs of nail heads, the composition of the nails on the object or paper allows the overall work to appear dynamic and illusionistic. In the early 1960s, Uecker also began to work with light as an artistic medium and set up a "Salon de lumière" in the Stedelijk Museum, Amsterdam and in the Palais des Beaux Arts, Paris together with Mack and Piene of the artist group ZERO. In Berlin, Uecker was honoured with a commission to design the so-called ‚Room of Silence‘ of the Reichstag building, which he completed in 2000. One of Günther Uecker's coveted nail pictures on paper (embossed) is on display within the Haus des Papiers. The handmade sheet of paper was embossed with oversized nails. The traces of the nails are neatly lined up - they move diagonally across the paper - creating a gripping dynamic. The work lives from the paradoxes between the delicate and yielding paper and the almost brutally threatening nails, as well as between the paper made by traditional craftsmanship and the industrially produced nails. The work exhibited in the museum was gifted to Gangolf Ulbricht. Ulbricht is a trained paper craftsman whose workshop is located in the Kunstquartier Bethanien in Berlin. Here, Ulbricht produces high-quality and unique sheets of paper with skilful craftsmanship, which are appreciated and used by artists and restorers worldwide.

Günther Uecker was born in Wendorf in 1930. Uecker began studying painting in Wismar in 1949 and continued his studies at the Berlin-Weißensee Art Academy. From 1955 he studied at the Düsseldorf Art Academy with Otto Pankok, where he was later employed as a teacher in 1974. Uecker joined the artist group 'ZERO', founded by Heinz Mack and Otto Piene, in 1961. Uecker's works have been exhibited in many internationally significant exhibitions such as: documenta III and the 4th documenta, Kassel; Venice Biennale, Venice; Martin Gropius Bau, Berlin; Schirn Kunsthalle Frankfurt, Frankfurt am Main; Museo de Bellas Artes, Havana, Cuba; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam. In 1985 Uecker was awarded the Federal Cross of Merit in the 1st Class. Günther Uecker is also represented in the most important international collections.




ALEXANDRA HENDRIKOFF


Yang Tao, 2021
Object made of wasp paper, tracing paper, kozo paper, seeds, wheat paste.
Metamorphose, 2013 two-part installation Pricked paper, grass seeds / tracing paper, kozo paper, dandelion seeds, bamboo, chestnut twigs, wheat paste. An intense examination of nature, the understanding of life’s cycles, and the belief in an intuitively sensed cosmic energy is the focus of Alexandra Hendrikoff’s work. Using tracing paper and organic elements from nature, she creates sculptures and floating objects that are of great beauty while also unsettling in a way that may appear almost eerie to some viewers. In their membrane-like fragile structure, these works are reminiscent of organs, insect cocoons or underwater creatures. Through meditative handicraft, Hendrikoff adorns the edges of her light paper sculptures with grass seeds, or inserts dandelion seeds into the holes whereby she creates a second shell on the inside of the object. The artist refers to nature as the mother of all forms; however, she does not simply copy from it, but rather, using the biological language of form, she creates new organic creatures of her own.
In the two-part work Metamorphose, a poem written by Hendrikoff herself is pricked into the sheet of paper: Metamorphosis (Transl. from German) I dreamt the Great Feast had ceased The bald tree of life could sprout anew A profound I nner Transformation had taken place And the world was filled With countless Creatures gliding in the wind, Opalescent, l ove-drunk, creatures sailing in the wind ... And indeed! When I, my morning cup of tea in hand, Entered the garden, I found it hanging there, In the glistening branches of the morning dew, This delicate, Vacated Cocoon, The old form had been burst open And Had released a new vulnerable life… Hendrikoff evokes a hopeful image of breaking up and overcoming old structures. New life arises out of single letters in the form of sprouting grass seeds. A branch structure, held precariously by a single stone, is aimed at the text on the wall, balancing a delicate paper object in the fork of the bough. It is the cocoon described in the poem – new life has formed within it, the empty shell has been left behind.
The unmistakably phallus-like shape of the burst-open cocoon symbolically references the overcoming of the patriarchal order. Alexandra Hendrikoff was born in Bad Reichenhall in 1965. She Studied Sculpture at the Academy of Fine Arts, Munich; received grants and awards such as the Ebersberg City Art Prize, 2009; Debut funding from the Bavarian State Ministry for Science, Research and Art, 2004. Her works are shown regularly in exhibitions in galleries, art societies and museums in Germany and abroad, incl. the Gallery for Applied Art, Munich; Museum for Arts and Crafts, Hamburg; City Gallery Rosenheim, International Paper Art Triennale Deggendorf and others. Public collections: City of Rosenheim, Artothek Munich, and others.