The world is full of edges and corners, a fact that's likely apparent to everyone. However, Esther Hagenmaier's work brings them into clarity in a way that may not have been visible to many before. Her photographs reveal where they hide: on building walls and roofs, in rooms, and where the light only partially reaches. Cut out and thus detached from their context, the photographed edge becomes independent, becomes pure form, composition, surface, space, or body. A peacefully inorganic utopia of angles. Hagenmaier's works exude a tranquility, a clarity that increasingly fades from everyday life. They motivate one to pause briefly and to discover a fine niche even in the perceived dreariness of urban complexes. Esther Hagenmaier's works are presented by the Smudajescheck Galerie from Munich.
Delicate seedlings stretch their fragile roots unsuccessfully towards the earth, suspended in the air, enclosed by broad black outlines much like an asphalted sidewalk delineates...a front yard. Neatly delineated by color, bedstraw and friends can only point to their health-promoting powers on Farniyaz Zaker's paper. In their restricted collaged environment, they will soon hang their heads. With her series "Dress Code for a Cul-de-Sac," Farniyaz Zaker refers to the encounter between fragile plant and inorganic geometry, reflecting on the moment of inclusivity and exclusivity, of being part of something yet not really. She celebrates the beauty of a garden that simultaneously remains subject to its inherent nature, being merely a fragment of nature. At the O Gallery stand from Tehran, thoughts about inclusion and exclusion blossom, and rootlessness becomes a fragile subject in the imagery.
Sprayed, drawn, rolled, wiped — Thomas Trum focuses on the application of paint. He develops machines that transfer paint in various ways. Large, bulky carts spray the finest streams of paint onto the wall in a rotating motion of an arm, and within minutes, the image is perfect. The creation of the image was meticulously planned, the machine intricately constructed and fed with paint, which it only has to emit. An intriguing field emerges between the delicacy of forms, clarity of color, and mechanics. Ultimately, his work consistently refers back to its process of creation through its linear structure. Although it’s difficult to believe that such delicate lines originate from a milky device resembling more of a forklift than a brush. Opposites attract, and Thomas Trum provides the evidence, not in black and white, but in red, green, violet, yellow, blue on white. On view at the stand of the Galerie Conrads.
Enne Hähnle draws, even though she works sculpturally. She has dedicated herself to the line, the fiber, the loop, the inscription, every form and texture that the line can assume. Similar to how her hairy sculpture "besty beast beasty boy" conquers the space, the shaggy line of the series "habenodersein" conquers her sheet of paper. The ink rises up, along a mirror axis the word "Doom" becomes "Mood" – does a sense of doom spread? If so, only subtly. The dark moments in Enne Hähnle's works are not pessimistic; they are subtle hints of the uncanny. Her drawings are exhibited by the Galerie Intershop from Leipzig.
The eye collects information and transmits it to the brain. Within this cooperation, there's a constant attempt to identify resemblances to familiar concepts and decode visual content. Tim Berresheim's works challenge this process. What is seen in his paintings is hardly clear to the eye. They are enigmatic, demand a tactile way of seeing, and then fill themselves with content that defies all logic. Textures of diverse kinds intertwine and weave together, resembling a cluster of hair, a strand of Styrofoam, modeling clay, and a strip of checkered paper, evoking school memories. Surreal objects emerge when Tim Berresheim generates and assembles fragments on the computer. In an undefinable space, the materials knot themselves, liquid metal flows, and the lines curl. One can get lost in his works, follow strands of thought that lead nowhere, and experience how liberating it can be not to fully understand something. Tim Berresheim's works are presented by the Galerie Elisabeth & Reinhard Hauff from Stuttgart.
Rozbeh Asmani focuses on the colors and shapes of consumerism. Brands and products like Lidl, Bounty, Zwieback, or BMW lose their fonts and logos in his hands. They are drastically reduced to the point where they only faintly allude to the corporate giants hidden behind them. Asmani's works are distilled giants of color, retaining their recognizable essence even in this reduced form seared so deeply into the retinas of consumers. Just as the Financial Times linguistically captures the flow of money, Rozbeh Asmani captures its visual markers. He teases out the finest Bauhaus features from a financial newspaper. An aesthetic reality check, never has Lidl been so beautiful. To be seen at the stand of the Galerie Werner Klein.
Award winners
The LEUE & NILL Award, which distinguishes an annual special stand presentation at the paper positions, was awarded to the joint stand of SCHWARZ CONTEMPORARY, Berlin, and Thole Rotermund Kunsthandel, Hamburg (stand #01). The two galleries present the artistic reactions of contemporary artist Henrik Eiben to the works of the famous modern artist Lyonel Feininger. A special contrast has arisen, an artistic accomplishment over the centuries. Such cooperation has never been shown at paper positions before. The galleries receive significant financial support from the prize sponsor, LEUE & NILL, for their fair participation.
Five artistic positions were awarded the PAPER ART AWARD: Asareh Akasheh (Olivier von Schulthess Collection, #57) was awarded gold, Leonie Mertes (Heike Strelow Gallery, #03) and Rikuo Ueda (Mikiko Sato Gallery, #30) were awarded silver, and Noriko Ambe (AOA;87, #45) and Hiroyuki Abe (Mikiko Sato, #30) were given bronze.
This year, again, the decision was visibly difficult, but even better was that five positions and their galleries were delighted to receive the award! The quality of paper positions berlin 2024 is very high this year and excites not only our jury. It is surprising that a decision could be taken at all. The award allows the purchase of works by the awarded artists for the collection of the "Haus des Papiers", established in 2021, worth €36,000.
Entrada actualizada el el 26 abr de 2024
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