XL Notes, 2025 – Acrylic, graphite, paper“Ich wäre da vorsichtig” (“I’d be careful there”) – pink lettering on graph paper. We search for an explanation, yet there are only these words, appealing to something. To what? The notes of our lives. We all have them, this collection of scraps of paper, layered until they are unrecognisable. An old phone number, never had the courage to call. A call to myself: a reminder that faded away behind the longing. Thoughts in layers and scraps of paper. Xenia Lesniewski brings all this together into an oversized noticeboard, transforming the trivial into a forceful statement. The everyday becomes art. Order stands in contrast to the chaos. Stacked notes tell stories. They become novels. I just need the courage to turn the next page. Look. Look. This is your life. That too.“in Rissen denken” (“Thinking in cracks.”) – Freed from habits, thoughts run wild: new perspectives open up. Standing close to the work, you become part of it, yourself a scrap of paper among many, a task and a function. If you step back, you gain an overview; ideas come together anew, connections and hierarchies become visible. Perhaps a space of freedom also emerges.Xenia Lesniewski is a multidisciplinary artist whose artistic practice ranges from visual art and painting to animation and experimental film.Xenia Lesniewski (* 1985, Germany) lives and works in Vienna. Her works have been shown in solo exhibitions at contemporary cultural institutions, such as the MQ Vienna and the florit/florit Gallery in Palma. She also presents her video works at international film festivals, including the Berlinale and the Rencontres Internationales Berlin/Madrid/Paris.

Mikrotonal 001, 2026 – Ink drawing on paper Mikrotonal 002, 2026 – Ink drawing on paper Mikrotonal 003, 2026 – Ink drawing on paperQF II 001, 2025 – Aluminium plate, acrylic, metal gauzeDuring a visit to the studio, love descended upon me like a storm, flooding into me. “I’d have to transfuse my blood.” (Lyrics by Jan Pieper / Die Stricher) I thought spontaneously.My desire was to force the artist to see what I see. I wanted to restrict the freedom to experience art. My mind wanted to enter hers.What sounds abstract here was a deeply physical desire: I was enthralled, moved, amazed, enraptured. And at that moment, I wished for nothing more than for her to take this experience further. On paper. Even though I couldn’t transfer my blood, there was still this special exchange made possible by the experience of art, seasoned with a touch of closeness and trust. For art is conversation, exchange and inspiration.Something came into the world, took on a life of its own and became something completely new.We are delighted to be able to show you how it began: QF. Metal forms, their paper drawings dancing iridescently behind shimmering surfaces. Lines begin to vibrate. Structures overlap. Movement arises where there is actually no movement.And we are delighted to be able to show you the result: Mikrotonal 001 – 003.Waves, fields and directions flow through the opaque paper. Something is spreading out. The microtonal quality of the metal forms reappears here too, though in a completely different way. Not as repetition, but as transformation.The QF in the metal object series stands for quantum fields. Yet, as is so often the case with Harriet Groß, it is not about illustrating something. Her works think beyond their visible boundaries. Lines become spaces. Objects become thoughts. Sound becomes visible. The paper series Mikrotonal is the further development of an idea. The further development of sound. The further development of space. And perhaps also the further development of the experience of art.Harriet Groß, born in 1967 in Munich, lives and works in Berlin. After studying medicine at the Free University of Berlin, she studied fine art at the Berlin University of the Arts and the Royal College of Art in London. She has received numerous grants and awards for her work. Her works are regularly presented in solo and group exhibitions in Germany and abroad and form part of private and public collections. Together with fellow artists, she runs the Axel Obiger project space.

Driver Protocol not supported, 2026 – gelatin silver prints, eyeletsExoskeleton, 2025 – gelatin silver prints, eyeletsLike the scales of an animal, pieces of wood overlap. Processed by humans into planks and broken by the passage of time, they find themselves in a very special state that can only be found in cities. Nevertheless, it remains wood that comes from trees. Nature and humans meet in a constructed urban space.For Philipp Hölzgen, these different forms of existence reveal commonalities. He explores contrasts in his black-and-white universe and regards them as a harmonious duality.If I were to wear the corset-like object with the lacing at the front, I would have a shell made of wood, of paper, of protection. I would resemble an insect. The human and the animal blend together. A transformation that corresponds to the title of the work. “Exoskeleton”, an external skeletal structure, a sense of security.The glove is dented, seams torn; it has survived battles and tells legends of victory and defeat. Which stories are true? Are our victories exaggerated, and if so, what is the intention behind it?Man and nature, protection and healing, resistance and surrender, united in one place. Or to put it another way: the corset laced too tight, the fracture supported but not stable, the task unfulfilled. And yet not a failure.Philipp Hölzgen (* 1994, Germany) lives and works in Vienna. During his studies, he focused on photography, communication and fine art. He brings these three areas of experience together in his work, drawing inspiration from the relationships between people and their environment. To explore the subject from a new perspective, he took part in the ‘Residency Keramikos23’ programme in Athens. Since then, his work has been exhibited in Austria, Germany and Greece.This work was produced with the support of Bildrecht.

Partition 115, 2018 – photographic object, unique piece (on loan from the Klein Collection)Partition 168, 2026 – archival pigment printIf you strip photography of all its content, what remains? Christiane Feser explored this question and found that what remains is light, shadow and the material of paper.From this, she created her creative space. Having started with digital image processing, she has increasingly used ‘real’ tools since 2008. She folds, photographs, cuts, scratches, pricks and, in some works, adds threads andfibres to the surfaces. She rearranges everything – only to capture it once more through the lens of the camera. Feser contrasts the camera’s photographic vision – a reality that “once was” – with active human vision through the eye. The two- and three-dimensional are interwoven until the image transforms into a “photo-object”. The ongoing series Partitionen began with the folding of individual sheets of paper. Over the course of months, Feser formed ever-new modules from thousands of A4 sheets, which she captures through the camera and transforms back into three-dimensional form. Christiane Feser’s large-format work Partition 115 in the entrance area thrives on her masterful command of paper as a material, which pours into the room like a waterfall of paper strips. Her second work on display here, “Partition 168”, was created in 2026—following a hiatus of several years in the “Partitions” series—specifically for the Haus des Papiers, and was first presented by us at the paper positions Berlin fair. This brand-new work thrives on precision and shimmer. It is hard to believe that it is actually paper. Metallic yet warm, the colours shift throughout the day, and the sheen changes as one passes by. An example of her inimitable artistry in creating disorientation and taking our eyes by the hand, guiding and confusing them.Christiane Feser’s works have already been exhibited worldwide, including at the Frankfurter Kunstverein; the Getty Museum, Los Angeles; the Kunstmuseum Bochum; the Palazzo Strozzi, Florence; and the Solomon R. Guggenheim Museum, New York. Her works are held in the collections of the Guggenheim Museum, New York; the Minneapolis Institute of Art; the Mönchehaus Museum, Goslar; the ZKM Karlsruhe; and the Klein Collection. Christiane Feser is the first artist to receive a grant from our Paper Residency! programme.

Patchwork 43, 2023 – Cardboard, paper on cardboardPatchwork 44, 2023 – Cardboard, paper on cardboardSince childhood, the artist and designer has been shaped by the theme of ‘textiles’, which was a constant presence in his everyday life thanks to his family home. Even as a teenager, he devoured fashion magazines and immersed himself in fabrics, yarns and colours. During this time, he developed his paper collages, in which he deliberately assembled images from magazines and daily newspapers into new motifs. Layered and intertwined, Bora’s works formstructures of paper that, on closer inspection, appear surprisingly familiar. The conceptual unifying element of his work is the rigorous selection of his source material: only paper that has found its way into his home through shopping or the post is deconstructed and redesigned.Cem Bora was born in Istanbul in 1965 and lives and works in Berlin. Following his training at the ‘Fashion Institute’ of the Lette Verein Berlin, he worked for styling agencies in Paris and Amsterdam. In the meantime, he founded his own fashion label. Since 2005, Bora has been exhibiting his works made of paper, including in exhibitions in Berlin, Basel, Paris and Luxembourg. He is represented in the Modebild-Lipperheidesche Kostümbibliothek collection at the Staatliche Museen zu Berlin.

a.)JESSICA MARIA TOLIVER Art Cards b.) SABINE THORNAU Geld wie Heu, 2024 Geldbarren, 2024 c.) KATHARINA HINSBERG Ohne Titel, 2025 – Roter Farbstift auf Hahnemühle Rice Paper geschnitten, auf Karton montiert, Edition von 40 (käuflich bei uns erwerbbar)

Aurora #4, 2025 – Archival pigment print on Japanese paperAurora #5, 2025 – Archival pigment print on Japanese paperFading red, blue, violet. Coloured surfaces set against delicate lines, like patterns of shattering glass, fractures in the present moment; something shimmers through. Delicate objects that simultaneously represent space and narrative. What is objectively visible and what is subjectively perceived. Here, she builds on her usual approach to spatial design, yet arrives at different results: paper in space.strid Busch transforms spaces in their entirety. She does so gently, with restraint, and yet we can sense her way of intervening; questions arise, images shift depending on the incidence of light. In her widely recognised site-specific installations, she combines photographs with a wide variety of materials – ranging from her own fragmented images to reimagined archive finds. She brings all these elements together as multimedia installations, creating works that span the space, appearing mosaic-like yet always remaining a unified whole.In 2020, Busch was part of the Berlin Paper Residency scholarship. This experience firmly established paper as a medium in her portfolio, a presence that continues to this day. And although the artist’s previous work has been firmly rooted in large-scale installations in public spaces, her experimental work with paper has also become a completely distinct strand of her artistic practice. These delicate objects have long been emblematic of her work and seem to call out: You see me, you don’t see me. Astrid Busch (born 1968, Krefeld) trained as a joiner and subsequently studied at the Academy of Fine Arts in Nuremberg and the Berlin-Weißensee School of Art, where she was a master student under Prof. Katharina Grosse. Her works are held in collections such as the Hetjens – German Ceramic Museum, Düsseldorf; the Kunststiftung NRW, Düsseldorf; the Neuer Berliner Kunstverein and the Technikmuseum, Berlin; the Museum für Angewandte Kunst, Gera, and others. She currently lives and works in Berlin and Düsseldorf.

From the series “RX Aurigae 2/5”, 2025 – tracing paper, ceramic, threadFrom the series “RX Aurigae 2/5”, 2025 – tracing paper, ceramic, thread, silkThe finest porcelain beads, tiny, yet each one hand-formed. Rubbed between the palms, enriched and warmed. Embroidered onto tracing paper. The inside and outside connected, forming an image visible on all levels. No attempt to hide the reverse side. Everything is part of everything, and everything is included. These works speak of penetration in the most painful sense. Tracing paper itself is already the result of a complex process: pressing, leaching, compacting. And not least through the embroidery, the artist here too, as if in passing, combines craft techniques and social expectations into complex little objects using the simplest stylistic devices. They are narratives of femininity, beads, adornment, embroidery, sitting together, community, the passing on of knowledge. And at the same time, the solitude of the studio, the translation of the familiar through artistic processes into a canon of the past, family, self-empowerment and the creative process.At first glance decorative, delicate, aesthetic, there is something about the works that makes us pause. As if they were reaching out to us.Justina Monceviciute (Lithuania) lives and works in Berlin. She initially studied drawing in Vilnius and subsequently enrolled on the Textile & Surface Design course at the Weißensee Academy of Art in Berlin, specialising in experimental materials. Since 2019, she has been exhibiting her work internationally, including at the Berlinische Galerien, COLLECT Somerset House London and the Vilnius University Museum. Monceviciute teaches at the Weißensee Academy of Art Berlin, amongst other places, and is a fellow of the Paper Art Residency 2025 at the Haus des Papiers.

8. HENDRIK CZAKAINSKI  NONPOINT SOURCES #5 – Cardboard, palette knife, paint Viewed from a distance, the work resembles a cartographic section of an endlessly expanding city. It is only upon closer inspection that the fragile layers and fractures become visible. Using wood, paper, cardboard and found materials, Hendrik Czakainski constructs model-like urban structures reminiscent of informal settlements. The individual layers protrude from the picture plane, creating a relief-like, multidimensional effect.In his works, Czakainski explores urban structures and the traces of transformation and destruction. His images arise from personal on-site experiences as well as from media-shaped notions of urban crisis zones. From this, he develops a visual language characterised by overcrowding and uncontrolled expansion, which takes up and reinterprets the features of these regions. The chosen image sections appear almost random and neutral, as if they were merely a small fragment of a much larger, boundlessly extending space.Architecture is conceived not as a finished concept, but as a constantly changing process in flux. Construction and decay exist simultaneously. The fragile materials stand in contrast to the massive impact of the urban landscape.Perhaps the crucial point is not so much whether construction or decay is taking place here, but that both are plausible at the same time – this is unsettling, almost oppressive.Without telling a specific story, the work leaves room for viewers to reflect on the city, growth and their own circumstances.Hendrik Czakainski (* 1979, Germany) lives and works in Berlin. After completing his training as a joiner, he went on to study performing and visual arts in Berlin. His works have been exhibited worldwide since 2009, including in Seoul, Berlin and Paris. The Urban Spree Gallery hosted a solo exhibition of his work. Since 2013, he has been teaching on the Architecture course at Beuth University of Applied Sciences Berlin.

Paris Weltraum I, 2013 – typewriter on paper, framedBoots on the ground, 2026 – typewriter on paper, perforated, framedUntitled – typewriter on paper, folded, framedVölker aller Länder ich wiederhole nicht vergessen nicht vergessen, 2014/2025  (People of all nations, I repeat, do not forget, do not forget) – typewriter on paper, framed His works on paper are created using a typewriter – usually a mechanical one – and paper. Instead of traditional drawing tools, he uses ink ribbon and type. The sheets are composed of countless typed and forcefully struck characters. Letters, words and sentence fragments overlap and condense into complex pictorial fields.Krecker draws on the sounds of urban environments, flows of data, goods and information, digital codes and media grids. He transforms linguistic material into a visual notation of vibrating all-over structures that are reminiscent of both optical phenomena and digital interfaces. In addition to his drawings, he is also known for sound installations, through which he extends his exploration of notation into the acoustic space.Dirk Krecker (* 1972, Germany) lives and works in Frankfurt am Main. He studied art in Offenbach. His works are exhibited in various galleries and institutions across Europe. In 2026, he received our Paper Art Award in Gold.

Untitled, 2021 – inkjet print, glue, wood, filler, waxA focus on the essential, variation and repetition, forms dictated by the production process – these are just a few aspects of Goekhan Erdogan’s works. He often works in series, and his work frequently takes a passport photograph as its starting point. The exploration of one’s own self-portrait is shaped by many philosophical, art-historical and socio-historical aspects; the result of these reflections is often highly minimalistic. Erdogan lifts the photographic images out of their formal frame, forces the paper into unfamiliar states of form, or transforms the motifs until they are completely dissolved, until they remain in the work only as an abstract idea.Such an engagement with the material, guided by the production process, is also evident in the works presented here. What looks like polished stone and wood grain are in fact offset prints of varying sizes of his passport photo motif, which have been coated with glue, pressed and dried. Here, Erdogan works with paper like a sculptor – he shapes and carves away. What remains are tactile objects, pure natural forms that are hard 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 Art and Design. Winner of the 2011 Dieter Haack Award. He regularly holds solo and group exhibitions in galleries and art associations in Germany, particularly in the Rhine-Main region, as well as at various locations across Europe.

Intervals 2, 2025 – screen print, paper, stainless steel structureInfinite Argyle, 2025 – screen print, paper, stainless steelIn her works, she explores the interplay between paper and printmaking within an expanded field, experimenting with different dimensions, colours and the surrounding space. Inka Bell is particularly interested in visual phenomena and the boundless possibilities of designing pictorial surfaces.Bell’s works embody subtle moments of transition and transformation, in which movement arises through variations in material and instrumental elements. Her works invite viewers to observe the changes taking place within them and their relationship to the surrounding space. They create dimensions in which precisely defined information merges into the uncontrollable and transforms into new frequencies.Inka Bell (b. 1981, Finland) lives and works in Helsinki. She studied fashion design and graphic design in Helsinki. Her works are exhibited internationally, including in Helsinki, Copenhagen, Paris and New York. She received the Paper Art Award 2026 in silver.

1000 Women, ongoing – seed pod paper object, Japanese paper, inkjet prints, glueUnheard of and unseemly – researched, collected, made visible. These are women who have changed the world: scientists, thinkers, activists, artists, revolutionaries. Some of them were nominated for the Nobel Prize or received it. Many were far ahead of their time – courageous, brilliant, uncomfortable. And yet: we do not know their names. Not because they have been forgotten – but because they were made to be forgotten. Some of these women were living monuments in their own lifetimes – famous, celebrated and respected. But after their deaths, they vanished from the history books. For history is not what was. History is what is handed down. And for a long time, it was handed down – primarily by men.At the Grimmzentrum, visitors could explore for the first time the results of the collaboration with Class 2Md of St. Franziskus School in Schöneberg during our photography festival ‘Kommunikation und Haltung 2025’. Here, over the course of four weeks, the portraits of these women were affixed to a paper sculpture in the shape of a seed pod (by the artist Ilka Raupach). In the process, the children realised how many of these women were unknown to them; they discussed the reasons why and discovered their achievements.Children involved: Roman, Anton, Ida, Matvey, Klara, Mila, Henri, Ana, Maria, Antonia, Samir, Malte, Vera, Florentina, Hanna, Antea, Paul, Jonathan, Theda, Hani.This time, we are presenting this piece as part of Multiples Weiß as a prime example of the voids we grow up with and are expected to get used to. Severed roots. No pain remains. We cannot miss what we do not know.We would like to thank Mariana Herrera Pulem and Muriel Fietz for their research into these women and their achievements.The object stood on a balcony over the past year and bears clear signs of weathering. Who would have expected paper to be able to withstand all that?

Memory Book, 2025 – Collage, Japanese and cotton paperBamboo Sound I, 2026 – Collage, bamboo and gauze paperBamboo Sound IV, 2026 – Collage, bamboo and Japanese paperHideaki Yamanobe works at the intersection of drawing, painting and sculptural thinking. His works often arise from the observation of natural forms and spatial structures. Using minimal means, he explores processes of growth, change and perception. In doing so, he combines precise craftsmanship with a poetic, open visual language.In Memory Book, delicate layers of different types of paper come together to form a serene, multi-layered composition. The work evokes memories that overlap, change and reassemble themselves. In the Bamboo Sound works, the different paper textures create a delicate interplay of transparency, light and rhythm. An interplay of material, space and surface emerges. Inspired by bamboo, the work conveys an impression of movement and sound. Natural materials are condensed into a poetic visual language.Hideaki Yamanobe (born 1964, Tokyo) lives and works in Cologne, Düsseldorf and Tokyo. After studying painting in Tokyo and printmaking in Basel, he developed an artistic practice that has been exhibited internationally, spanning Japan and Europe. His works have been exhibited in Cologne, Tokyo and Frankfurt am Main, amongst other places, and are held in private and institutional collections, including the Ernst Wilhelm Nay Foundation.

1. IRENE WÖLFLBehind #09, 2023 – Collage from used paperIrene Wölfl (*Krems an der Donau) has been working with collages made from lost, abandoned and discarded materials since 2008. From paper remnants, she creates poetic narratives assembled through layers of gluing and stitching. Her works never reveal all of their secrets.2. EMAGINATIVE (Emanuela Martucci)Extra Fertig, 2025 – Analogue collage on corrugated cardboardEmaginative (Emanuela Martucci) is an Italian multidisciplinary artist and designer specialising in analogue collage and visual storytelling. In her work, she combines layered irony with a touch of sarcasm. She addresses themes such as displacement, emotion and vulnerability.3. ANDREA PÖTERuntitled, 2025 – Collage on paper, mixed mediaGrowing up in Germany’s Ruhr region, she developed an early longing for colour and nature. In her abstract works, she explores the interplay of colour, its resonance and its effect. Without a clearly defined goal, the process of painting gives rise to personal pictorial spaces and individual cosmoses.4. JULIA SOSSINKASea Plants III, 2026 – Collage, ink on paperJulia Sossinka studied at the Düsseldorf Art Academy and is a master student of Prof. Markus Lüpertz. She has worked as a freelance artist in Berlin for many years. 5. ANNETTE ZOBELKrakellagen, 2025 – Inkjet print and watercolour on paperAnnette Zobel studied Fine Arts in Mainz and was part of the Mannheim artist-run gallery “Peng”. Since 2021, she has worked at the Schulstraße studio collective. Her works have been widely exhibited and acquired by the Karlsruhe Regional Council and the Mannheim Cultural Office.6. ROBERTA BONFIELDBournville Rd, n.d. – Mixed media collageRoberta Bonfield lives and works in London. The landscape is an important source of inspiration and reflection in her practice. For her collages, she uses self-painted papers with which she abstracts and reassembles motifs.7. FIENE SCHARPUntitled (FS-01-185), 2023 – Three-layer paper cut, pigment, acrylic glassFiene Scharp (*1984, Berlin) studied Fine Arts at Berlin University of the Arts and has received numerous awards and scholarships. Her works have been shown in museums and art institutions in Germany and abroad, including the Museum of Concrete Art Ingolstadt, Kunstmuseum Stuttgart and Museum Ritter.8. BARBARA HÖLLERIxen 04, 2024 – Acrylic on adhesive tape on Japanese paperBarbara Höller (*1959, Vienna) studied at the University of Applied Arts Vienna and has received numerous awards. International residencies and symposia have taken her to Italy, Japan, Norway, Hungary, Croatia and Poland, among other countries. Her works are exhibited nationally and internationally.9. KRYSTYNA STEFFENSVerborgene Klänge, n.d. – Drawing paper, Japanese gift paper, photocopy, torn fragments, tracing paperKrystyna Steffens (*Poland) began her artistic journey in Shanghai, where she lived for four years. There, she learned to appreciate paper as an independent artistic medium. Shaped by this experience, her work combines Asian influences with her European roots.10. JANINA LAMBERTYWindzeichen, 2024 – CollageJanina Lamberty (*1961, Ratibor, Poland) is a conceptual artist, sculptor, graphic artist and designer. She developed an early interest in nature and science, which she later deepened through art, culture and philosophy. Since 2001, she has lived and worked in Düsseldorf and Barcelona.11. SILKE JANASkleines Fenster II, 2026 – Hand-painted Chinese papers (acrylic) on cardboardSilke Janas (*1975) lives and works as a freelance artist in Giessen. Hand-painted papers are characteristic of her work and serve as both the foundation and inspiration for her collages. “kleines Fenster II” is part of a series of non-representational works.12. FRANZISKA TEUFELSilence is not empty. It is full of answers., 2025 – Collage, mixed mediaFranziska Teufel (*Sigmaringen) studied art and subsequently worked in various art education institutions. Alongside numerous exhibitions, she works in the fields of collage, mixed media, textile art and artists’ books, and is a member of the VBKW/BBK.13. LOLA GIANCARELLIEmbalaje, n.d. – Machine-stitched collage on paperLola Giancarelli (*Buenos Aires, Argentina) is a queer visual artist, performer and cultural producer living and working in Berlin. Her work engages with collage, archives and materiality. She explores connections between memory, urban fragments and processes of preservation.14. ELIZABETH CARLSSONThe Paper That Remembers It Was a Fungus, n.d. – Handmade paper from wood fungiElizabeth Carlsson lives and works as an artist and ecological practitioner in Linköping, Sweden. In her research-based practice, she explores relationships between body, time and perception. Her work combines repetition, movement and site-specific processes.15. CHRISTINE HUIZENGAFußnote, 2022 – Cardboard with acrylic on MDFChristine Huizenga (*1961) studied art in the Netherlands as well as philosophy and linguistics in Hanover. Since 1995, she has worked as an independent artist and regularly exhibits in solo and group exhibitions. She has also been active as a curator since the founding of the artist-run gallery “Mimis Erbe”. 16. MEIKE ANDRESENUntitled, 2026 – Various papers, gluedMeike Andresen (*1974, Germany) lives and works in Hamburg. She studied at the Hamburg University of Applied Sciences and the Hamburg University of Fine Arts. In her work, she uses painting and adhesive tape to create a sense of transparency and permeability. Her works are exhibited nationally and internationally.17. ROLAND BARTHUntitled, n.d. – CollageRoland Barth (*1983, Berlin) is a professional screen printer and freelance artist. He works experimentally across printmaking, painting and collage. The technique of screen printing frequently forms the basis of his artistic practice.18. ANDREY KRASULINZäsur (Caesura), 2023 – Kraft paper, corrugated cardboardAndrey Krasulin (*1934, Moscow) studied sculpture at the Moscow Higher School of Industrial Art and developed a distinctive abstract visual language at an early stage. His works made from paper, wood and found materials are represented internationally, including in the Tretyakov Gallery, the State Russian Museum and Museum Ludwig Cologne. Since 2022, he has lived and worked in Berlin.19. ENIKŐ CZIGÁNYZeichen 26_03, 2026 – Paper collage (Gmund Les Naturals and Awagami Kinwashi)Enikő Czigány graduated from the Hungarian University of Fine Arts. Since then, she has explored the geometric patterns of landscapes, which remain a central source of inspiration in her work. She translates these observations into abstract forms and compositions.20. CHRISTINA EVA WALZThe Weird One, 1996 – Drawing collageChristina Eva Walz lives and works as a freelance artist in Berlin. She studied Fine Arts with a focus on drawing at Mainz University of Art and Design. In her abstract works, she combines painting, drawing and collage into multilayered pictorial spaces.21. JOSEFIEN ALKEMAUntitled, n.d. – Relief of an old drawingJosefien Alkema studied at the Minerva Academy in Groningen and later art therapy in Leeuwarden. In her work with drawing, collage and sculpture, she explores rhythm, structure, space and light. For her collages, she reuses drawings from earlier years and develops them into new works.22. ILKA RAUPACHWanderlust I, 2020 – Collage, tissue paper, ink, pasteIlka Raupach (*1976, Germany) is a professor at Wismar University of Applied Sciences. Fascinated by sculpture, she studied the subject in Greenland, Norway and Germany. Layer by layer, her works create previously unknown landscapes. 23. JENS RAUSCHAbrisskanten und Erdgeschichte, 2025 – Oil, gypsum, lime, iron oxide, lithopone and graphite on paper mounted on woodJens Rausch (*1976, Germany) studied art therapy as well as creative and social pedagogy and has worked as a freelance artist since 2016. His works have been exhibited nationally and internationally and are part of several collections.24. KIRSTIN RABEAlpi Apuane 5, 2020 – Waste paper, cotton cellulose and ink; cast, cut and gluedKirstin Rabe (*1971, Hamburg) lives and works in Brandenburg and Berlin. She studied geodesy at HAW Hamburg and, after a two-year stay in South Korea, Fine Arts in Berlin. She has worked with paper since 2012 and received the Brandenburg Art Prize (Graphics) in 2023.25. VERONIKA STEINERAn…ja….Pflanzliches (from the series Engführung), 2025 – Scratched, burned and concealed elements, mixed media, collageVeronika Steiner (*1968, Vienna) lives and works in Breitenfurt near Vienna. She studied graphic arts and printmaking at the University of Applied Arts Vienna and taught there for many years. In her work, she combines observations of nature, found objects, photographs and literature, translating them primarily through drawing, painting and printmaking.26. EDINA PICCOResidual Warmth, 2026 – Collage on wooden panelEdina Picco lives and works in Berlin. In her abstract collages, reduction and worked surfaces give rise to quiet pictorial spaces that evoke memory, closeness and emotional tension.27. BRIAN HEGARTYA piece of something, 2025 – Honeycomb cardboard, paint and ink on foam boardBrian Hegarty (*1970, Ireland) lives and works in Drogheda. As a visual artist and musician, he combines both forms of expression in projects such as “thirtythree-45”. In his work, he combines different techniques and leaves room for chance and experimentation.28. ELLE RIBBETageblatt 26.02.2026, 2026 – Collage on historical paperEllen Ribbe lives and works in Hattstedtermarsch in North Frisia. Following many years of artistic training, she developed a distinctive visual language in which paper plays a central role as both material and image carrier.29. ANKE MEIXNERNorwegen VII, 2024 – Handmade collage from recycled paper fibres, recycled paper scraps and tissue paperAnke Meixner (*1961, Germany) works as a playground designer and discovered her passion for paper alongside her profession. Influenced by study trips to Japan and China, she creates her paper from plant fibres grown in her own fibre garden. 30. EGBERT ACKERMANNUntitled, 2025 – Paper remnants on watercolour board, adhesive tape, watercolour pencilEgbert Ackermann (*1960) is a visual artist and architect. His series and projects engage with colour, space and text. He lives and works in Munich and Vinci, Italy.31. CATH DUNCANSalty Splashes and Cherry Gelato, 2024 – Recycled colour test scraps and mixed media on cardboardCath Duncan lives in Utrecht and works as a contemporary artist using mixed media and collage. Drawing on personal and professional experiences of grief, her intuitive practice explores themes of belonging, resilience and joy.32. JÖRG SCHMITZDEF, n.d. – Collage, mixed mediaJörg Schmitz (*1969, Hanover) studied at the Offenbach University of Art and Design, among others under Franz Mon. His works are part of various collections, including the Evonik collections in Hanau, Essen and Brussels, as well as the Klingspor Museum Offenbach.33. BETTINA BRADTSpur der Stille, 2021 – Paper collage with tea paper and mixed mediaBettina Bradt lives in the Weser Uplands and works across the disciplines of collage and photography. Her work explores reduction, the poetics of materials and perception. 34. ULRIKE VON DER OSTENneues bauen 2417#15, 2026 – Acrylic on paper, mixed media, mounted on MDFUlrike von der Osten (*1962, Hildesheim) studied painting and printmaking at the Academy of Fine Arts in Nuremberg. Since 1993, she has lived and worked in Frankfurt and Offenbach. She has received various grants and funding awards and has exhibited throughout Germany since 2012.35. ANNETT FRANKEHinter den Fassaden, n.d. – Collage of cardboard, magazine paper, tissue papers, silver leaf and parchment paperAnnett Franke (*1971, Halle/Saale) was influenced by art and painting from an early age. After working in advertising and theatre, she has lived and worked in Berlin since 2001. Alongside fashion and bag design, she is dedicated to watercolour painting and creative workshops.  36. HENNING EICHINGER (on loan from the collection at the Willy-Brandt-Haus)Notebook (Nos. 25–30), 2003 – oil, chalk, pencil, collage, stampIn his work, Henning Eichinger explores the relationships between nature, space and human perception.His starting point is often observations of landscapes, plant forms or natural processes.By reducing his work to essential structures, he creates pieces of great tranquillity and concentration. His works invite us to observe everyday phenomena attentively and from new perspectives.In the series NOTBLOCK, Henning Eichinger uses collage as an open field for observation and experimentation. Different materials, fragments and traces are collected, combined and condensed into new visual contexts. Through layering, superimposing and rearranging, works emerge that are reminiscent of notes, memories or sketches of thoughts. In this process, collage becomes a means of making perception visible and creating new connections between image, material and meaning.Henning Eichinger’s works are held in various private and public collections.37. ELISABETH SONNECKClipage (variable) 26-2.2, 2026 – Gouache on paperSince 2006, Elisabeth Sonneck has developed site-specific scroll works from long strips of paper and found objects. In 2015, this led to the series clipage (variable), in which colour spectra and unique photocopies enter into dialogue. The works remain variable in their arrangement.38. MICAELA ZELLHOFERfold II, 2026 – Digital photo collage, thread, acrylic, coloured pencil, paper cutMicaela Zellhofer lives and works in Wiesbaden. In her paper works, she investigates geometric and spatial structures. Her works emerge through processes of construction and deconstruction, combining different techniques in an experimental way.39. MARIA ELISA QUIAROQS Rosa 2, n.d. – Analogue collage, photographyMaría Elisa Quiaro (*Venezuela) is a multidisciplinary artist working with collage, paper, assemblage, porcelain, graphic arts and encaustic painting. She lives and works in Höhr-Grenzhausen. Images and words shape her artistic practice, in which collage has become her own visual language.40.CLARA ZIMMERMANNfinding color #07, 2025 – Collage, paper and colour filter film on paperClara Zimmermann (*1993, Stuttgart) lives and works as a textile designer in Hamburg. In series and collections, she explores colour, surface and material. Collage serves both as the starting point and the result of her observations and discoveries.41. MAX ERNSTFlechten unterm Kinn, 1960 – Collage, paperDer Knabe im Kragen, auch: Der abwaschbare Priesterkragen, 1960 – Collage, paperGeschmückte Frau im Spiegel, 1960 – Collage, paperMax Ernst was one of the most significant artists of the Surrealist movement. In his work, he combined found images, chance techniques and his own ideas to create new and surprising visual worlds. He made particular use of collage to present familiar motifs in unfamiliar contexts. His works hover between dream and reality and invite viewers to form their own associations.Max Ernst assembles an unusual figure from cut-out fragments of images. Familiar forms appear transformed and encourage the viewer to discover new meanings and stories. The collage plays with imagination and disorientation – typical characteristics of Surrealism.Max Ernst (b. 1891, Cologne – d. 1976, Paris) is counted among the most important artists of the modern era. He is regarded as a co-founder of the Dada movement in Cologne and later played a decisive role in shaping Surrealism in Paris. He experimented with a variety of techniques such as collage, frottage and painting. Due to the political situation in Europe, he emigrated to the USA during the Second World War. After returning to Europe, he lived mainly in France and produced a diverse body of work right into his old age.Works by Max Ernst are now held in the world’s leading museums of modern art, such as: the Max Ernst Museum in Brühl, the Centre Pompidou in Paris and the Museum of Modern Art in New York.(On loan: Collection at the Willy Brandt House)

JESSICA MARIA TOLIVERTOTEM, 2025 – Urn objects, pulp from charcoal drawings and studies from the cycles MEN I TRUST, sixteen days of recording water, becoming corpus, coming in swarms Charcoal, ash, Ruhr water, plant-based objects, various Hahnemühle papers, untreated lime wood, charred ash wood. Animal ashThe two urn objects from the ‘TOTEM’ series are the latest works by the Schwerte-based artist Jessica Maria Toliver and are being exhibited for the first time at the Museum Haus des Papiers Berlin. They mark a significant development in her artistic exploration of paper as a medium and, in terms of content, tie in with the self-portraits “Inner Security”, “In the evening when I go to sleep” and the multi-part cycle “sixteen days of recording water”.In the new urn objects, the artist condenses the symbiotic and multi-layered human-animal relationship in a radically transformative way by tearing up, burning and processing studies, sketches and entire groups of works into pulp in a performative act. She then moulds this pulp around a specially designed wooden model that determines the subsequent shape of the urn.The dried pulp cap serves as a base for the original animal ashes applied in the final stage of production, which give the urn objects their colour and texture. The two objects combine symbolism, metaphor, and mystical and spiritual dimensions. On the one hand, they raise questions about mortality and the breaking of taboos; on the other, they engage with artists’ estates and personal development in an aesthetic and pragmatic manner.In terms of form and functionality, the urn objects correspond to standard market models.(Text: Jessica Maria Toliver)Jessica Maria Toliver (*1976 Coburg, Germany). She lives and works in Schwerte, North Rhine-Westphalia. After working as a set design assistant in Dortmund and Berlin, she decided in 2008 to pursue fine art and has been working with paper ever since. Her works are held in museum collections such as the Gustav Lübcke Museum, Hamm, and the Haus des Papiers, Berlin, as well as in the Bürgerstiftung Rohrmeisterei, Schwerte, and numerous private collections. She was a fellow of the Paper Residency! 2022.ANNA HANDICKGelege, 2010 – Onion paperHandick’s work is rooted in a fascination with nature and a concern for its conservation and restoration. In particular, she explores survival strategies and adaptations, interdependencies and symbioses, which she seeks to reintroduce into society. In her art, she primarily uses natural materials, which she examines for their potential uses and limitations, thereby developing environmentally friendly artistic approaches.In the work exhibited here, Anna Handick uses onion skins as an alternative raw material to create her delicate paper spheres.Anna Handick was born in Nuremberg in 1985. She currently lives and works in Nicaragua. She studied sculpture at the Academy of Fine Arts in Nuremberg under Claus Bury. Her works have been shown in numerous solo exhibitions in Germany, Switzerland and Nicaragua. She has received various grants, including the Debut Grant from the Bavarian State Ministry of Science, Research and the Arts and the Young Art Award from Artforum Ute Barth. Her works form part of the collection of the Fundación Ortíz Gurdián Museum in León, Nicaragua, and the Cultural Foundation of Sparkasse Nuremberg. In 2020, she founded the Abacaxi Artspace project.SYSTEM 180  ReSpan Project1 June 2021–31 December 2024 – Recycling of wood-based panel materialsProject participants: Fraunhofer Institute for Applied Polymer Research AIP, Eberswalde University for Sustainable Development, PreZero Stiftung & Co. KG, Pfeifer Holz Lauterbach GmbH, System 180 GmbH. The ReSpan project aims to develop a recycling process for wood-based materials, in particular MDF, OSB, flat-pressed boards and pallet blocks. The aim is to ensure that not just parts, but as many components of the materials as possible are put to further use. To achieve this, a recycling formulation must be found that is chemically adapted to the respective board material and capable of dissolving the thermosetting adhesive cured within the materials without damaging the wood chips and/or fibres. Medium Density Fibreboard (MDF) is a wood-based material that is equally uniform in both the longitudinal and transverse directions, made from finely defibrated, mainly bark-free softwood. The edges are smooth and firm and can be profiled without special edging. Oriented Strand Board (OSB) is a wood-based material made from long, slender, aligned strands. It was invented by Armin Elmendorf in 1963.Flat-pressed board is the largest and best-known sub-category of chipboard. Flat-pressed board is a wood-based material consisting of small, glued wood chips of varying sizes, which are usually pressed into multi-layer boards comprising three to five layers. The outer layers almost always consist of finer wood chips, particularly if they are subsequently coated for decorative purposes. (Text by Francesco Coccia, System 180)Funded by: Federal Ministry of Food and Agriculture as part of the Charta für Holz 2.0 programme The Berlin-based company System 180 develops spatial concepts designed to meet a wide range of usage requirements, fostering creative thinking and creative processes. In doing so, it places value on local development and production with a view to timeless design and combinability, as well as a particular focus on recyclability. In our exhibition, we present two of the company’s research projects on the theme of sustainability.NICHOLAS PLUNKETTFecal Matters, 2019 – cellulose, pectin, natural dyesLobke Beckfeld, Elisabetta Goltermann, Nicholas Plunkett, Melissa KramerCan we wear recycled toilet paper as clothing or even use it as tableware? Where do our reservations about this recycled material stem from, and can they be overcome? Nicholas Plunkett, Elisabetta Goltermann, Melissa Kramer and Lobke Beckfeld explored these questions at the greenlab research laboratory at the Weißensee Academy of Art. The overarching research theme of the greenlab focuses on the circular economy. The circular economy model contrasts the linear resource model with the fundamental idea of cyclical reuse: non-biodegradable materials should be kept continuously within the production and recycling cycle, whilst biodegradable material is returned to nature and serves as a nutrient. In their design project Fecal Matters, Nicholas Plunkett, Elisabetta Goltermann, Melissa Kramer and Lobke Beckfeld explored the design potential and possible applications of cellulose recovered from toilet paper via wastewater treatment. Around 83 million rolls of toilet paper are produced worldwide every day, and some 27,000 trees are felled daily for international consumption to manufacture them. The project explores, both experimentally and in practice, ways of incorporating the renewable resource cellulose into a further material cycle and processing it into textiles. The greenlab at the design departments of the Weißensee Academy of Art Berlin connects practice-oriented research projects and industry with the aim of jointly developing innovative concepts for sustainable and environmentally friendly products and services.EVA BULLERMANNPetri dish 1 – Carboxymethylcellulose, glycerinePetri dish 2 – Foam made from carboxymethylcellulose and microcrystalline cellulosePetri dish 3 – Carboxymethylcellulose, glycerine – dried on various substratesVial 1 – Eggshell membraneVial 2 – Loofah sponge gourdVial 3 – Skin between layers of spring onionVial 4 – Spring onion layerAir cushion – Carboxymethylcellulose, glycerine bonded with wheat pasteFramed:Carboxymethylcellulose, glycerine – pattern generated using the Grasshopper programme to illustrate the formation of shape through water and air in plantsCarboxymethylcellulose, glycerine, air-filled chamber glued with wheat paste – sample from highly concentrated gels Carboxymethylcellulose, glycerine, onion cell pattern 3D print made from PLA (polylactide) – sampleIn her Master’s thesis on the topic of ‘Designing with Cellulose, Air and Water’, Bullermann explores the potential applications of the stable, biodegradable structures formed by cellulose fibres. Taking nature as her model, Eva Bullermann seeks to create complex, material-efficient structures that incorporate air and water as materials within the design process. The samples on display show models made from the cellulose derivative carboxymethylcellulose, which is used as a thickening agent in the food industry. As a derivative of the raw material cellulose, it can be mixed with water to form a viscous gel, which can then be poured into a mould, foamed and dried.Eva Bullermann (born 1993 in the Bavarian Forest) is a textile and surface designer whose work explores, through an artistic lens, the emergence of form in biological materials as well as the design of materials. Most recently, she worked at Matters of Activity on the CollActive Materials project as a project assistant and designer. The project tested speculative design as a method for science communication in the form of workshops.LOOP BIOTECHMaterial sample – mushroom blockLoop Biotech is a Dutch company that cultivates funeral products from local mushrooms: 100% natural, biodegradable, soil-enriching and designed to become one with nature. Here we present a material sample of the mushroom-based raw material that is processed. This makes nature-enriching burials possible for the first time, combining traditions with the future-oriented use of materials that promote nature.SYSTEM 180 LignoLight – 1 May 2023–30 November 2026 – Use of lignin for the development of lightweight furniture; Project participants: Bingen University of Applied Sciences, Weißensee Academy of Art Berlin, Fraunhofer Institute for Wood Research WKI, TECNARO GmbH, CompriseTec GmbH, System 180 GmbH, Lignopure GmbH, Trippen A. Spieth M. Oehler GmbH1. Thermoplastic compounds, lignin content 0–50%2. Test specimen material board, coated with furniture linoleum, produced from 100%recycled MDF material boards3. Thermoplastic filament for 3D printing, polyester blend with 30% lignin, European hardwood4. 3D-printed product, System 180 components, polyester blend with 30% lignin, European hardwood5. Imitation leather, various embossed patterns with 70% lignin, European hardwood6. Rigid foam board, various patterns with 0% lignin, density approx. 350 kg/m²,European hardwood7. Lightweight sandwich panel, various designs featuring a visible surface thermoplastic lignin compounds, core of rigid foam board with 0% lignin, density approx. 450 kg/m², European hardwood The LignoLight project focuses on the use of lignin to develop new materials. The aim is to explore the potential applications of lignin in modular lightweight furniture. A key aspect of the project is recycling, which encompasses both the reuse of complete assemblies (Design for Cyclability) and the sorting and processing of materials by type (Design for Disassembly). In addition, concepts for take-back and potential end-of-life scenarios are being developed. Alongside cellulose, lignin accounts for approximately 20–30% of wood, making it the second main component.Lignin consists of solid biopolymers and is a key component of wood. It is not water-soluble and is therefore more difficult to biodegrade than other substances. Lignin forms important structural materials in the supporting tissue of most plants. It forms around and within the cell walls, giving them strength.Lignin, previously regarded mainly as a waste product, is extracted from the cell wall material of woody plants, known as lignocellulose. This is primarily required in paper production as a raw material source for cellulose and hemicellulose.(Text by Francesco Coccia, System 180)Funded by: Federal Ministry for Economic Affairs and Climate Action under theTechnology Transfer Programme for Lightweight Construction (TTP LB)ALEXANDRA FRUHSTORFERThe Secret Life of …, 2023Small and light, they float to mountain peaks and sink to the bottom of the oceans. Simply by wearing polyester jumpers, we shed thousands of tiny textile fibres every day without even noticing. They gather in the dust bunnies in the corners of our bedrooms or find their way into our nostrils and even into our cells. More than 65% of global textile production is made from petroleum, which is why plastic microfibres from textiles are ubiquitous. And this is despite the alarming findings from the latest research: once they enter our bodies, petroleum-based fibres can contribute to all manner of serious illnesses. The interactive installation “The Secret Life of …” makes the invisible visible. The digital reflection simulates the amount of plastic microfibres we release into the environment simply by walking around in synthetic clothing. A participatory wall installation invites visitors to leave a personal microfibre sample. The growing diagram shows the material and emotional composition of the garments present in the room. (Text: Alexandra Fruhstorfer.)Supported by: INTRA programme, University of Applied Arts, Federal Ministry of the Republic of Austria (BMKOES), Cultural Forum Milan, Culture Moves Europe (European Union), Free University of Bolzano.Alexandra Fruhstorfer lives and works in Vienna. She works as a transdisciplinary designer and artistic researcher. She uses speculative, performative and co-creative design to question political and cultural models in the context of technological and ecological change. Her works, which have been exhibited internationally, have received numerous awards. She studied industrial design, has been active in artistic research since 2020 and is a co-founder of the DTAFA collective.h. TU Munich Chair of Materials Research in Biopolymers Straubung – AlexanderHelmbrecht, Felicitas von Usslar, Weixuan Wang, Prof. Cordt Zollfrank Balsam wood at the end of delignification, bookwood, untreated cross-sections Various wood samples at different stages of surface delignification Dried cellulose foam – consisting of bacterial cellulose Cottonid samplesTUM – CHAIR OF BIOGENIC POLYMERSThe ‘From Wood to Paper’ project run by the Chair of Biogenic Polymers at TUM demonstrates the transformation of wood into cellulose and subsequently into paper.Starting materials such as balsa and beech wood are chemically delignified, whereby the lignin is removed whilst the cellulose structure is preserved. Various stages of delignification are documented, from solid wood through cellulose fibres to different types of paper. Innovative materials such as bacterial cellulose foam and Cottonid are also presented. Microscopic images illustrate the structural changes during the process. The project highlights the conversion of wood into sustainable paper and cellulose products.LaNaSys – Development of a material- and energy-efficient timber construction system using hardwood and softwood The LaNaSys project aims to contribute to the material-efficient and sustainable use of wood, a domestic raw material, in modern timber construction, and focuses on the further development of cross-laminated timber components. These components have so far been manufactured almost exclusively from softwood, a resource that is set to become scarcer. For this reason, lower-grade hardwoods, beetle-damaged timber and veneer offcuts are used for the inner layers. Due to a separated layer, there are cavities within the structure that pose particular challenges for fire protection. To protect the load-bearing structure, a fire protection layer made of modified Cottonid is bonded in place. Cottonid, also known as vulcanised fibre, is one of the oldest known bioplastics.To produce a Cottonid sheet, several sheets of paper are soaked in a catalyst bath for a specific period at a specific temperature. The catalyst etches the surface of the paper, causing only a small amount of the natural cellulose to dissolve and then repolymerise, which creates a bond between the individual fibres and between the layers of paper. After the reaction, the chemical residues are carefully washed out, and the Cottonid can be pressed, dried and shaped. Cottonid can be easily cut, milled, punched, turned, bent, planed, glued and dyed. The reuse of the catalyst and the use of cellulose as a raw material make Cottonid a sustainable bioplastic. To enable Cottonid to be used as a fire-retardant layer, expanded graphite is added to the paper base material in a specific concentration. The expanded graphite reacts when exposed to heat, forming a foam-like structure. This foam-like structure arises due to the  lamellar structure of the graphite and the release of gas, which pushes the layers apart. The underlying effect here is known as intumescence. An insulating layer forms, which protects the underlying components from heat and flames and can seal cavities. In addition, this oxidising surface consumes oxygen, so that the surrounding air becomes virtually inert and can act as an extinguishing agent. The oxidation process does not produce any further flames, and heat is drawn away from the surroundings. Ideally, this could smother the flames in an enclosed space once the oxygen has been consumed or the fire load has been burned out. Water damage following firefighting operations can be considerable in some cases and significantly increases the cost of restoration. The LaNaSys ceiling element could offer an alternative fire protection solution here. In an ideal scenario, no firefighting operations would be required. The load-bearing components are protected by the Cottonid layer, and the fire protection could be easily renewed by removing the expanded Cottonid layer and bonding a new one in place. (Text: Alexander Helmbrecht)Dr Cordt Zollfrank heads the Chair of Biogenic Polymers at the Technical University of Munich’s Straubing campus. Alexander Helmbrecht works as a research assistant and PhD student at the Chair of Biogenic Polymers at the Technical University of Munich under the supervision of Prof. Cordt Zollfrank. He previously studied for a Bachelor’s and subsequent Master’s degree in ‘Renewable Resources’ at the Technical University of Munich’s Straubing campus. He joined the Chair of Biogenic Polymers on 1 October 2021.Felicitas von Usslar works as a research assistant and PhD student at the Chair of Biogenic Polymers at the Technical University of Munich under the supervision of Prof. Cordt Zollfrank.RELEAF PAPERShopping bag – Recycled urban leavesReleaf Paper is a young, innovative company that transforms green waste into valuable raw materials for the paper and packaging industry. By combining scientific and entrepreneurial enthusiasm, they are changing people’s perceptions regarding the responsible use of resources in paper production.The company was founded in Ukraine in 2021 through the collaboration of a talented scientist and a successful entrepreneur.Releaf Paper actively utilises contract manufacturers in Ukraine and the EU to produce paper and packaging using Releaf technology. What began as a research project by a 16-year-old schoolboy has, within five years, developed into an international, dynamic start-up with offices in Paris and Kyiv and global ambitions.

Falling, 2025 – Paper, yarn

Kitsune Lady, 2021 – papier-mâché sculptureLeiko Ikemura is one of the most significant contemporary artists. Her paintings and sculptures explore themes of transformation and the fusion of humanity and nature. Her hybrid creatures and mythical beings are always depicted in a shadowy manner, frozen in a state of becoming. The defining feature here is Ikemura’s ability to fuse two very different poles – European and Pan-Asian culture. Her tranquil landscapes and predominantly female hybrid beings are often an expression of indeterminacy and the depths of human nature. Ikemura’s sculptures are usually made of bronze, terracotta or glass. For the HdP, she has now created her very first three-dimensional paper work. To do so, she added two new pieces to one of her best-known series of resting heads, crafted from the pure white material papier-mâché. The unpolished white surface with its delicately modelled facial features quietly alludes to the inspiration behind the work – the mythological creature Kitsune, a snow fox that takes the form of a beautiful young woman. The presence of her dreamlike works is always breathtaking. Here, a new element – physical lightness – has been added. This is particularly evident in the piece Kitsune Lady – a fragile form, a whisper of paper.Time seems to stand still. Everything comes to rest. Breath fills us, like life itself.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 in 2009 and the German Critics’ Prize for Fine Art in 2001. From 1990 to 2015, she taught at the Berlin University of the Arts (UdK). Her work has been exhibited worldwide, including at: Kunsthalle Karlsruhe; Kunstmuseum Basel; 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, and others. Her works are held in the collections of the Centre Georges-Pompidou, Paris; the art museums of Basel, Bern and Zurich; the Kunsthalle Nuremberg; the Museum Kunstpalast Düsseldorf, and others.