The seventh edition of paper positions berlin is open! Two of three awards have already been presented and the first works have been sold to public and private collections.
The new LEUE & NILL Award, which annually honors a special booth presentation at paper positions, was given to Galerie Malte Uekermann Kunsthandel with the solo presentation of Jens Hanke. The gallery receives significant financial support from the award sponsor LEUE & NILL for its participation in the fair.
In addition, five artistic positions were pleased to receive the PAPER ART AWARD: The artist Ursula Sax (Semjon Contemporary) was awarded gold, Gisoo Kim (mianki.Gallery) and Amparo Sard (Galerie Anita Beckers) shared silver, and Brian Dettmer (Galerie Commeter,) and Taniguchi Kenichiro (Mikiko Sato Gallery) were awarded bronze. The division of the prizes exemplifies the high quality of this year's positions. Making a decision was visibly difficult. The award enables the purchase of works by...the awarded artists for the collection of the "House of Paper", founded in 2021, with a value of €36.000.
The paper positions award supported by Kaiserwetter will be presented tomorrow, Friday, April 28, at 5 pm.
The award, given exclusively to female artists, includes a special exhibition of the winner at the next fair.
This year, works by the 2022 award winner, Maija Kurševa of MĀKSLA XO Gallery from Riga are on display.
Visit of the State Secretary Michael Kellner
We were very happy about the visit of the State Secretary for Economy and Climate Protection, Michael Kellner. At this stele we would like to share his prior statement about paper positions and Berlin as a location for the international art trade:
"Berlin is internationally renowned as a location for contemporary art. The success of the Gallery Weekend proves this every year. Berlin's galleries attract collectors and art enthusiasts from all over the world. Numerous internationally successful artists have found a home in Berlin. After the Corona years, the art market is now fortunately recovering step by step. I am very pleased that paper positions will be held in Berlin again this year. The fair has long since established itself in Berlin's art scene and shows that even the long-established medium of paper can be reinvented again and again. I'm excited about the exhibits and contemporary positions and look forward to exchanging ideas with art enthusiasts on my visit to the fair."
Editions
This year is the first, but certainly not the last, in which we sell paper positions editions at our art fair. With Sora Park and Oskar Zaumseil, two positions that have already been part of the Academy POSITIONS at POSITIONS Berlin Art Fair are offering an edition of twenty.
In front of Oskar Zaumseil's (*1989) works, the question of where two-dimensional surface ends and organic body begins arises. Each of his strokes, whether pencil, felt-tip pen, or gel pen, is traceable. Seen in this light, his drawings are always also a documentation of their process of creation. Oscillating between animal and mathematics, his sheets unfold new fantastic and highly entertaining dimensions with every glance.
His edition for paper positions berlin 2023 shows a form that makes one think of a cat, but curved horns grow out of its head. The black of its planar body swallows the red checkered pattern of the background. Oskar Zaumseil's play with surface and depth effect, with an- and organic form creates fabulous creatures in every sense.
With her photographs, Sora Park (*1991) reflects on her surroundings, her life far from home, and the influence her movements have had on the objects in her space. With her camera, the artist explores, depicts objects that sometimes seem strangely useless, sometimes ordinary, and puts a question mark behind them with her lens. It seems as if she herself is always a little suspicious of what she captures photographically. She searches for explanations, for meaning in the senseless, for beauty in the overlooked.
Her paper positions edition depicts a banana peel placed on a pile of books and flat boxes. The way the banana peel lies there looks unusually vivid, as if a supporting arm position could be read off the individual strips of peel. It is still just barely holding itself up on its little pedestal; in a moment it will collapse. A whimsical, eye-catching act of strength in an unusual place.
Paper can be discovered as an artistic medium at paper positions berlin until Sunday, April 30.
HIGHLIGHTS 2023
Raha Khosroshahi at O Gallery
Raha Khosroshahi's works, which can be seen at O Gallery’s booth, are visually full to bursting, with everything from cake to uterus to discover. Shapes make hints of being something like a hair dryer, lines seemingly join to form circuits, and yet any presumptions of function ultimately run into the unknown. Deep red areas of color surrounded by light sandy tones are reminiscent of dead animals on the beach, wounded skin, or hot lava digging its way down a slope through the earth. Sugar icing and pools of blood, sweet and salty, technical, and organic, threatening, and secure come impressively close together in Raha Khosroshahi's visual world.
Greg Colson at Bradwolff & Partners
Greg Colson, represented by Bradwolff & Partners, has a fine sense of humour. His works playfully outline, how dogged people try to measure and gauge everything in their surroundings. With statistics, tables and diagrams the universe, opinions or growth are apparently made tangible. The beauty and absurdity of this measurement mania forms Colson’s creative playground on which he works, sometimes abstract, sometimes in a forthright way. He stamps heaps of words into which the idea of categorization dissolves, he draws untraceable chemical equations and places the planets on a painted record. In front of Colson’s artwork, the fact that the world is not flat is amusingly and exceptionally at your own discretion.
Naoto Kumagai at CAVE-AYUMIGALLERY
That blurring deserves positive connotations is proven by the works of Naoto Kumagai (*1978), which will come from Tokyo to Berlin with the CAVE-AYUMIGALLERY. It seems as if his colours are breathed onto the paper, drawn in and ultimately fused with the material. Paper and paint have entered a delicate yet inseparable union. The slight dizziness that may set in soon dissolves into a pleasant spacelessness and timelessness. In stripes and rhythmic patterns, the traces of paint run their course, swirl, blow away and blur like landscapes passing by a train window. Kumagai's works radiate tranquility, seem light as a feather, and have no shadowy sides.
Hanna Hennenkemper at Drawing Room
The pencil of Hanna Hennenkemper (*1974) makes the twodimensionality of the paper disappear behind structures reminiscent of chocolate bars, it places amorphous structures on the page or pretends to be a microphone-symbol familiar from chat windows. Each drawing, each sheet is a playground of dimensions, a reference, so that where Hennenkemper's pencil was, heights and depths, forms and surfaces or links to digital space open. Represented at paper positions berlin by Drawing Room.
Christiane Löhr at Galerie Werner Klein
Black lines stretch across the white paper in a minimalist manner, like fine cracks or ramifications. Where the paper meets the paint, it takes on further characteristics and develops. It is reminiscent of cracked glass, the view up into a leafless treetop or the subterranean tunnel systems of a native rodent. The application of paint by Christiane Löhr (1965*) works like a contrast medium in an X-ray image, seems to carry structures hidden in the paper to the outside and let it become a living organism. Christiane Löhr's works are shown by Galerie Werner Klein.
Harald Kröner at Bernhard Knaus Contemporary
Layers, cutouts, and areas of color lend archaeological dimensions to Harald Kröner's paper. In this layering, in what is visible and what it conceals, Kröner's work at Bernhard Knaus Contemporary unfolds a charm of wanting to uncover and find out. Streams of brown ink cannot be stopped in their flow by the edges of collaged layers. A trickle meanders through the circumstances. Strips of pastel-colored paper rise vertically like skyscrapers against a gray metropolitan sky. Kröner's collages open varied and exciting thematic fields between panel buildings and plate tectonics.
Ardan Özmenoglu at Anna Laudel
With the artist Ardan Özmenoglu from Istanbul, a lot of postits enter the exhibition booth of the Anna Laudel Gallery. Behind the works "Alles gut", "Berliner" or even "Alles Gut & Alles Wunderbar & Alles Schön" hides thanks to the many interrelated everyday papers also always a social message of cohesion: Many are a strong whole. Özmenoglu's choice of postits pays tribute to the casual, the paper that is primarily useful for remembrance. She prints or paints on it and assembles it into a large collage. Together the many post-its form an image that mostly refers to Turkish, but also international pop culture. The artist does not tackle against the character trait of the post-it, it sticks to the upper edge and the lower always curves upwards a little, she leaves it as it is, so that a texture reminiscent of feathers or scales gives the overall picture an animal, haptic component.
Helena Heinrihsone at MĀKSLA XO
Helena Heinrihsone’s works are bursting with color power. Only at second glance does it become clear that the self-confident intensity conceals a very personal, emotional, and fragile component. Each silkscreen is basically a mood painting, it reflects a feeling the artist had. Sometimes loneliness is a theme, or a couple in the picture that is literally close, but at the same time seems to be tearing apart. In Heinrihsone's work, the female breast is a motif of tenderness, intimacy, - even nudity, but in the best sense it stands for the pure and unadulterated. Helena Heinrihsone makes her inner world naked if you will. On display at the booth of MĀKSLA XO.
Lyonel Feininger at Thole Rotermund
Lyonel Feininger (1871 - 1956) is a household name. Village churches, alleys, geometry - in the circle of the Blaue Reiter and as part of the famous artist group die Brücke, the artist is considered an important pioneer of classical modernism. Beginning in caricature, Feininger increasingly found his own expression, tried his hand at printmaking, and at the beginning of the 20th century evolved into sharp-edged, cubist-multiperspective drawings in which he devoted himself predominantly to the architecture of small towns. Jagged yet mild, shrewd, and deliberate, Feininger placed his motifs on the page, playing with viewers points of view, causing confusion, creating dynamics, and occasionally a smirk. In 1919 Feininger was the first artist appointed by Walter Gropius to the Bauhaus, now Thole Rotermund Kunsthandel takes him to us in Berlin.
Aneta Kajzer at CONRADS
Aneta Kajzer brings surface into flow. Her expressive colors swirl, merge, and literally seem to depict a wave of emotion. With each color gradation, a different emotion spreads through the image. Within her floods of color, faces stand out again and again. They peer through the colors wiped in broad brushstrokes. Sometimes it is the grimace of a pain-wracked "King of Pain," then a clowning "Schalk" or a "Superheldin" gazing confidently out of the picture with awake, open eyes. With her refreshingly color- and characterful figures, Kajzer floods the CONRADS booth.
Entrada actualizada el el 28 abr de 2023
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