Jorinde Voigt

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Jorinde Voigt (born January 19, 1977 in Frankfurt am Main ) is a German artist who works with the media of drawing , writing , painting and installation . She has been professor for conceptual drawing and painting at the Academy of Fine Arts in Munich since 2014 .

life and work

After graduating from the Viktoriaschule in Darmstadt in 1996 , Voigt began studying philosophy and modern German literature at the University of Göttingen in the same year . In 1998 she moved to Berlin and studied sociology , philosophy and general and comparative literature at the Free University of Berlin.

From 1999 to 2003 she studied multimedia art at the Berlin University of the Arts with Christiane Möbus . As part of the Erasmus program , she took Visual Art Studies at the Royal College of Art in London in 2001 . She then continued her studies in the class of fine arts and photography with Katharina Sieverding , from which she graduated in 2004 as a master class student. During her school days from 1986 to 1996, Voigt learned the cello at the Akademie für Tonkunst in Darmstadt and with Peter Wolf in Frankfurt .

Today Jorinde Voigt is represented in numerous galleries , museums as well as private and public collections. These include the Center Pompidou Paris , Museum of Modern Art New York , Art Institute of Chicago , Kupferstichkabinett Berlin , the Bundeskunstsammlung Bonn , Hamburger Kunsthalle and Grafische Sammlung Munich . In 2008 Jorinde Voigt was awarded the Otto Dix Prize of the city of Gera . In 2012 she received the Daniel & Florence Guerlain Contemporary Drawing Prize.

The artist has developed a coded notation for her notations and scores in order to translate complex phenomena into visual compositions . In the first years of her artistic career, Jorinde Voigt was mainly concerned with making scientific and cultural phenomena visible. Her current works are less about external processes than about inner images and worlds of imagination. Her three-dimensional and painterly works can also be read as conceptual models in which the artist examines reality and perception . Within her extensive oeuvre, Jorinde Voigt experiments with working methods and materials that she continuously varies, combines and further develops.

Jorinde Voigt lives and works with her partner, the artist Christian Jankowski , in Berlin .

Work phases

Black-and-white

It was only at the end of her artistic training that Jorinde Voigt found the media of drawing and writing , with which she mainly works today. After initial photography work on typical cultural motifs of North American cities, she turned away from photography in order not to reproduce existing images, but to experiment with the characteristics of situations such as time, space, speed and form on paper.

During a stay in Florida in 2003, Jorinde Voigt began to draw snapshots of her immediate surroundings for the first time. Scores are created on small-format paper. In the same year, an acoustic inventory followed during a trip to Indonesia . Jorinde Voigt begins to translate frequencies of events into lines, numbers, arrows and brackets and to arrange them on paper according to a certain system . “The approach then was to examine the frequency of events that make up a specific cultural situation. That was more or less a copy of reality. "

Between 2003 and 2010 he produced numerous studies and large-format series in black and white ink on paper. This work is based on strict rules, algorithms and arithmetic parameters . During these years, Jorinde Voigt was concerned with capturing the invisible phenomena of everyday life. She examines processes from mathematics , biology , physics , music and politics : temperature curves , pop songs, pulse beats, eagle flights, kissing couples, cardinal points, wind directions, arcs, electricity, detonations, fields of fire or rotations are the parameters of her drawings. The aim is not just to depict, but to construct a new way of looking at the world in all of its complexity, diversity and simultaneity. “Finding a structure or spelling that is as lively as possible, since something living is being observed.” Jorinde Voigt's drawings become “graphic world capture machines”. Works such as 2 kiss I-VI (2006), Konstellation Algorithmus Adlerflug (2007), PERM I-III (2007), ReWrite I-VI (2008), STAAT / Random I-XI (2008) and Symphonic Area Var. 1-27 (2009) fall into this work phase.

At this time, Jorinde Voigt began to work with large-format sheets of paper, so that the body played an important role. The artist takes notes from all sides of the paper and fills in the formats in months of precise work with meticulous pencil and ink lines, numbers and letters. Using self-imposed rules (algorithms) and spontaneous deviations, Jorinde Voigt creates variations, order and chaos on paper. This creates a dynamic and liveliness that distinguishes her black and white works from the strict drawings of conceptual art , such as by Hanne Darboven .

colour

In 2009 Jorinde Voigt began working with color. For the installation Botanic Code (2009/2010) the artist examines her own color perception while walking through various botanical gardens around the world. According to a predetermined algorithm , it translates the most strongly perceived colors into color fields and transfers them to aluminum rods. The result is a code that breaks down information about color, proportion and season . The installation translates the linear perceptual structure of the human brain into a parallel arrangement, because the different information can now be perceived at a glance.

The sketchy drawings Superdestinations (2010) show abstract lines that are spontaneously drawn with a colored pencil and distributed over the surface of the paper. Only the title of the work gives an indication of the origin of the records. It is about defining specific locations with the help of the parameters form and color, which Voigt synchronizes in Superdestinations : the observed object is shortened by the artist to the simplest basic visual form at the moment of its perception and noted with the corresponding color.

In 2010 Jorinde Voigt developed the concept of the horizons . The result is the series Interhorizontal Nexus I – VII (Kiev 1–7) (2010). In the artist's eyes, the horizon is one of the most fundamental lines in the landscape , according to which people orientate themselves. In drawings that are now 258 × 208 cm in size, Jorinde Voigt varies possible color spectra and lines of the horizon.

collage

In 2011, Jorinde Voigt combined her notation method with collage technique for the first time . The result is the series 308 Views on Plants and Trees (2011). The artist layers filigree lines and abstract areas of color made of colored paper on top of one another. The collaged colored areas are silhouettes , the outlines of which Voigt derives from looking at different tree species. Each colored area represents a gaze of the artist. While your first look at it from a distance provides a rough overview, with every further view ( views ) you get closer to the structure of the plant. Jorinde Voigt's exact study of the different tree species corresponds to the basic idea of ​​her work of understanding reality as a microcosm .

The series Views on Chinese Erotic Art. From 16th to 20th Century (2011) is a direct continuation . The series is based on paintings from the exhibition “The Chinese Pleasure Garden - Erotic Art from the Bertholet Collection in the East Asian Art Collection in the Dahlem Museums” (2011). Jorinde Voigt is fascinated by the characteristics of the erotic paintings and woodblock prints and deals with their shapes and colors. Each drawing shows up to 100 views of the so-called Shungas . With the help of a color fan, she determines the corresponding color numbers of the robes, lovers, wallpaper and furniture shown. Elements such as tables, mirrors, heads of hair, genitals or feet can be recognized again. Some of the colored areas resemble comic-style illustrations .

In her collages, Voigt varies colors and shapes hundreds of times, so that the characteristics of the viewed object emerge. With this approach, the artist refers to the Chinese and Japanese painting tradition, in which multiple views of a motif were made. A famous example is Hokusai's 36 Views of Mount Fuji (1830–1836).

After the world of botany and the fine arts , literature follows as the artist's field of research. The result is the 36-part series Piece for Words and Views (2012), which is based on Roland Barthe's essay Fragments of a Language of Love (2004). In this case, each color area corresponds to a quoted word, such as coil, lake, Werther or heart. These are terms that trigger spontaneous images in the artist's mind when reading the chapters. Her inner images are shaped by a collective memory as well as by Jorinde Voigt's individual experiences. The result is a mixture of representational and abstract representation.

Piece for Words and Views (2012) marks a significant change in Jorinde Voigt's work. From this point on, the artist directs her attention to a possible image finding of internal processes. Aspects of imagination , memory , experience and emotionality come to the fore in her work.

gold

Jorinde Voigt has been dealing with literary and philosophical works since 2012 . In this phase of work, the artist experiments with the use of gold leaf and inlay techniques. Drawings are made on Schopenhauer , Deleuze and Guattari , Epikur , Goethe , Sloterdijk , Hofstadter , Platon , Canetti , Paul Celan and CG Jung . Jorinde Voigt lets the viewer participate in her process of appropriation and her attempt to understand the texts. She cuts out the areas drawn with pencil, adds gold leaf and white gold , silver , platinum or palladium and reattaches them to their original place in the drawing. The artist then reworks the drawing with watercolor , pastel chalk and oil pastel .

The materiality of the gold stands out from the overall composition. From a distance, the shimmering and reflective precious metal appears to take on a different shape depending on the viewer's position. The effect reflects Jorinde Voigt's idea that ideas and images - represented by the golden surfaces - are always changeable. In this work phase, the handwritten notation takes a back seat. The inherent dynamism, which the artist previously created in her drawings with the help of spatial and temporal parameters, is now generated through the use of precious metals.

From 2013 to 2014 Jorinde Voigt worked on the 48-part cycle Love as Passion. For coding intimacy. The artist is working on the book of the same name by the sociologist Niklas Luhmanns from 1982. Compared to the previous works, the words quoted seem to take on a life of their own . Completely new visual worlds are created. The pictorial elements prevail, while characters, writing and text take a back seat. From this point on, Voigt's work took on picturesque features. Her formal language of imagination, figuration and abstraction, as well as the inherent rhythm of her serial picture compositions, are reminiscent of the works of modern painters such as Wassiliy Kandinsky or Paul Klee . The series Incommunicability (2014) and A difference that makes a difference (2014) also belong to this group of works.

installation

In parallel with her drawings, Jorinde Voigt translates her underlying concepts into three-dimensional objects and installations. These include MI & MII (Action and Communication Study) (2009), Botanic Code (2009–2010), Grammar (2010) and Collective Time (2010). In 2012 he created neon works on Roland Barthe's essay “Fragments of a Language of Love”. Jorinde Voigt transfers words from her reading into fluorescent tubes , labeled with the quotation and chapter used. Imagined images become visible as colored lines of light.

Exhibitions (selection)

  • 2008 Jorinde Voigt - DUAL , NKV Nassauischer Kunstverein Wiesbaden
  • 2008 Drawing as a process , Museum Folkwang , Essen (group exhibition)
  • 2009 Jorinde Voigt - Symphonic Area , HDKV Heidelberger Kunstverein
  • 2010 Doppler effect. Pictures in Art and Science , Kunsthalle zu Kiel (group exhibition)
  • 2010 LINIE, LIGNE, LINEA. Contemporary drawing , Kunstmuseum Bonn , (group exhibition)
  • 2010 Jorinde Voigt - STAAT / Random I-XI , Gemeentemuseum, The Hague
  • 2011 Jorinde Voigt , Von der Heydt Museum , Wuppertal
  • 2012 3rd Moscow International Biennale for Young Art , Moscow (group exhibition)
  • 2012 Art Prize of Böttcherstraße , Kunsthalle Bremen (group exhibition)
  • 2013 Fruits de la passion - Projet pour L'Art Contemporain , Center Pompidou , Paris (group exhibition)
  • 2013 Jorinde Voigt: Systematic Notations , Nevada Museum of Art NMA
  • 2014 Jorinde Voigt - Superpassion , Museo d'Arte Contemporanea di Roma (MACRO), Rome
  • 2017 Jorinde Voigt - A New Kind of Joy , Kunsthalle Nürnberg

Literature (selection)

  • David Nolan (Ed): Jorinde Voigt - Codification of Intimacy, Works on Niklas Luhmann, Liebe als Passion , Text: Lisa Sintermann, Jorinde Voigt, Revolver Publishing, 2014
  • Jorinde Voigt (ed.): Jorinde Voigt - Views on Views on Decameron , Text: Peter Lang, Cura Books, 2013
  • Kai 10 / Raum für Kunst, Arthena Foundation (Hg): Drawing a Universe, Text: Ludwig Seyfarth, Lisa Sintermann, Kerber Verlag, 2013
  • David Nolan (Ed): Jorinde Voigt - Piece for Words and Views , Text: John Yau, Jorinde Voigt, Hatje Cantz, 2012
  • Museum van Bommel van Dam (ed.): Nightly concert - Gregor Hildebrandt and Jorinde Voigt , text: Niklas Maak, 2012
  • Neues Museum Nürnberg (Hg): International Faber-Castell Prize for Drawing 2012 , Text: Lisa Sintermann, 2012
  • Julia Klüser: Jorinde Voigt - Nexus ; Text: Andreas Schalhorn, Lisa Sintermann, Von der Heydt Museum Wuppertal, Hatje Cantz, 2011
  • Regina Gallery: Jorinde Voigt - 1000 Views , Text: Lisa Sintermann, Jorinde Voigt, 2011
  • Lisa Sintermann, The measurement of the invisible - notation method in the conceptual drawings by Jorinde Voigt , Stiftung Universität Hildesheim, 2010
  • Jochen Kienbaum (Hg): Jorinde Voigt - Botanic Code, Kienbaum Artists' Books 2011 , Snoeck Verlagsgesellschaft, 2010
  • Jorinde Voigt, Clemens Fahnemann (eds): Jorinde Voigt - ReWrite ; Text: Andrew Cannon, KraskaEckstein Verlag, 2008
  • Elke Gruhn, Nassauischer Kunstverein Wiesbaden (ed.): Jorinde Voigt - DUAL , text: Clemens Krümmel, Kerber Verlag, 2008
  • Holger Peter Saupe (ed.): Jorinde Voigt - Otto Dix Prize 2008 Prize Winner , Gera Art Collection, 2008

Web links

Individual evidence

  1. ↑ Marina Cashdan: Jorinde Voigt's Measured Approach. In: T Magazine. March 8, 2012, Retrieved September 25, 2019 (American English).
  2. ↑ Julia Klüser: "Foreword". In: Julia Klüser: Jorinde Voigt - Nexus , Von der Heydt Museum Wuppertal, Hatje Cantz, 2011, p. 6.
  3. ↑ Jorinde Voigt in: E-mail interview with Peter Lodermeyer , August / September 2009, < http://jorindevoigt.com/blog/wp-content/wp-content/uploads/interview_voigt-lodermeyer_de.pdf >
  4. ↑ Jorinde Voigt: "Project Description - Watermill Center", oJ
  5. ↑ Niklas Maak: "Image fragments of a language of love", Frankfurter Allgemeine Zeitung, January 8, 2012., p. 47.
  6. ↑ See Andreas Schalhorn: “Sachverhalte. Note on the drawing by Jorinde Voigt ”. In: Julia Klüser: Jorinde Voigt - Nexus , Von der Heydt Museum Wuppertal, Hatje Cantz, 2011, pp. 10–11.
  7. ↑ a b Cf. Lisa Sintermann: Botanic Code . In: Julia Klüser: Jorinde Voigt - Nexus , Von der Heydt Museum Wuppertal, Hatje Cantz, 2011, p. 118.
  8. ↑ See concept 308 Views , http://jorindevoigt.com/blog/wp-content/wp-content/uploads/KONZEPT-308-Views_DE2.pdf
  9. ↑ Lisa Sintermann: Views on Chinese Erotic Art. From the 16th to 20th Century . In: Regina Gallery: Jorinde Voigt - 1000 Views , 2011, p. 81
  10. ↑ See Lisa Sintermann: Concept Piece for words and views, 2012 . After a conversation with Jorinde Voigt on January 23, 2012, http://jorindevoigt.com/blog/wp-content/wp-content/uploads/KONZEPT-Piece-for-Words-and-Views_dt1.pdf
  11. ↑ See Lisa Sintermann in: David Nolan (Hg): Jorinde Voigt - Codification of Intimacy, Works on Niklas Luhmann, Liebe als Passion , Revolver Publishing, 2014, p. 5
personal data
SURNAME Voigt, Jorinde
BRIEF DESCRIPTION German painter and draftsman
DATE OF BIRTH 19th January 1977
PLACE OF BIRTH Frankfurt am Main