The DAPHNE edition brings together contemporary artistic viewpoints which articulate the medium of paper or card. The seven selected artists present a diverse range of approaches to the format of an edition, combining works featuring collage, drawing, printmaking and objects. Felix Schneeweiß's twenty-five drawings with the title Oh Darling feature recurring elements which are arranged differently on every sheet. The symbols, writing and delicate washes of red, yellow and blue are always present but occupy the surface of each sheet in a unique way. Questions are thereby raised of how the symbols relate to one another and what meanings are created. The words NEW YORK and "Oh darling, let's be adventurers" juxtaposed with a Caribbean beach motif could be an invitation to come away but large abstracted swords overlay it. Dennis Busch combines two pictures into a collage made from photographic portraits of older men and different images which cover the face and conceal the identity of the individual. The texts on the reverse suggest that they are personalities from the first half of the 20th century from the worlds of business, politics and education. Depending on whether the collages feature food, weapons, rockets, body parts or something else, the face takes on an absurdly comic meaning.
Marie Alys's etching o.T (Untitled) depicts the portrait of what seems to be an equally comic figure. The delicate line drawing forms facial features that might depict a female person with an earnest expression. The earnestness and nobility communicated by the formal attitude of the person radiate an iconic presence that is simultaneously broken by the graphic shapes and their arrangement. In her collages entitled Daphne, Hannah Hallermann examines the properties and motion of hurricanes. Hurricanes were given exclusively female first names until 1979, after which date female and male names were used alternately. Statistics show, however, that 'female' hurricanes have a higher number of casualties as they are underestimated. The drawings depict funnel or whirlpool-shaped entities bordered by arrow and movement lines, joining white background and the dark photocopies together.
Glenn Geffken's digital print Identity is a Currency uses the symbolism of a Philippine 200 peso note as the template for his own. Hell Money portrays the artist as the President of the Philippines ruling the DIY chain store 'Bauhaus' and is not just a commentary on the artist's identity - the paper money becomes a collage, mixing references to pop culture, society and economics. The value of an artwork and its production is the subject of Mikka Wellner's Value of Transparency in which the information about the work's edition on the black card is almost completely covered by a grey rub-away coating. The 'transparency' is only possible by destroying the surface of the artwork. To this end, the one Euro coin that has been flattened by a tram and is part of the artwork can be used. Engraved on it are the words, "IF I HAD KNOWN BEFORE HOW STUPIDLY MY VALUES WOULD EVOLVE I WOULD HAVE STOPPED BELIEVING IN BEAUTY".
Monika Brandmeier's reduced letterpress print Zwei grüne Linien (Two Green Lines), depicts two ovals of different size. The dark green border of the shapes overlaps on the lower edge and is therefore thicker, reminiscent of a shadow or impression. The printing plate is actually one of the artist's sculptures.