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In Hansjörg Schneider's work, paper occupies a central position in every respect. Since the beginning of 2022, his partly miniature, partly large-format cut and paste works have led from the status of a flat relief into three-dimensional space, where they find a consistent expansion. Whether sculpture, object, folding, model, sketch - the deliberate leaving open of a classification allows the experimental, open-ended handling of the material. Its constructive power proves to be enormously flexible and sustainable. This opens up interdisciplinary intersections between fine arts and architecture, but also between structural engineering, materials research, simulation and modelling. The imagined scalability from the handy model to the urban space establishes a universal set of instruments with which the relevance of art in the urban context becomes renegotiable. Despite all the genuine possibilities of application, these paper objects remain first and foremost autonomous reflections on surface and space. The openwork structures turn into free space and enclose a body of air. The geometric compactness of the objects stands in barely resolvable contrast to their fragility and lightness.

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