Jorinde Voigt

Jorinde Voigt
Jorinde Voigt
Nationality	German
Alma mater	Berlin University of the Arts
Website	jorindevoigt.com

Jorinde Voigt is a German artist, best-known for large-scale drawings that develop complex notation systems derived from music, philosophy, and phenomenology.^[1] She is a professor of Conceptual Drawing and Painting at the University of Fine Arts Hamburg. Voigt lives and works in Berlin. ^[2]

Work[edit]

Voigt’s large-scale drawings often emerge from a system of guidelines and rules and therefore her work has drawn comparisons to Minimalist and Conceptual artists,^[3] namely the event scores and visual artworks of the 20th-century avant-garde such as John Cage and Iannis Xenakis;^[4] the algorithmic patterns of Hanne Darboven;^[5] and the procedural parameters of Sol Lewitt.^[6] Yet despite these comparisons, Voigt’s work differs markedly from this lineage, particularly because her rigorous systems emerge from how the inner world—such as personal experience, emotion, and memory intersect with external conditions.^[7] Voigt has described such a process as providing “instructions for the imagination.”^[8]

In 2002, Voigt turned away from the medium of photography and began to make the drawings that she is best known for, which she has alternately described over the years as “projection surfaces, visualized thought models, scientific experimental designs, notations, scores and diagrams.^[9]^[10] The artist developed her specific symbolic system in the series Notations Florida and Indonesia, both from 2003. According to art historian Astrid Schmidt-Burkhardt, the sixty ink drawings that comprise Notations Florida, “already contain all the registers of perception that would also distinguish her later works.”^[11] The resulting drawings convey a series of the artist’s impressions when traveling from Orlando to Miami. As Voigt explains, “I still took stock of situations, but the difference was that I no longer pressed the shutter but rather took notes. In this way, pictures emerged that could no longer be classified as perspectival; rather, they reflected the juxtaposition and the simultaneity of what I experienced.”^[12]

Further cycles of work emerged from the perception study developed in this early series.^[13] Although formally and conceptually diverse, each of these work cycles shares an interest in making visible that which is “behind” things and capturing the simultaneity of experience through markings on paper.

Views on Chinese erotic art: from 16th to 20th century (2011/2012)[edit]

The works from this series combine notation and collage techniques to translate images of historic Chinese erotic paintings and prints into diagrams comprising picture and text elements.^[14] Central to this series is a “visual reading” process, which analyzes images as if they were texts. Referencing the Chinese and Japanese painting tradition of capturing a scene in multiple views, Voigt subsumed up to 100 views—each one capturing a specific gaze—onto each sheet of paper, so that the collages resemble scientific tables. To make the works, Voigt cut silhouettes from colored paper that corresponded in color and profile to a particular element of the composition, such as the shape of a woman’s hairdo, a bathtub, or a lover’s embrace. The number of silhouettes were determined by how many times she looked at the detail.^[15] Poet and critic John Yau writes, “by unraveling the erotic views into their constituent parts, the artist essentially undresses the encounter, turning it into a collection of visual and written data.”^[16] With color choices and notations dictated by the very act of looking itself, the drawings appear as a mental construct with which to investigate human perception, raising questions about language, cognition, intuition, and association.

Piece for Words and Views (2012) Love as passion: On the Codification of Intimacy (2013/2014)[edit]

This 36-part series marks a radical shift in Voigt's practice. While earlier works developed notation systems that visually translated the perception of objects or situations, Piece for Words and Views is the first work cycle in which Voigt concretely attempts to find images that correspond to internal processes. With this shift in Voigt’s work, finding forms that correlate to imagination, memory, experience and emotion moved to the forefront of her practice. Piece for Words and Views explores how, when reading, words have the capacity to produce images in the reader’s imagination. The series transforms specific words from A Lover's Discourse by Roland Barthes into both abstract and representational imagery. Each mental image receives a specific color and form, which is rendered via contoured drawing on colored vellum. The final drawing is made by collaging the multiple images, forming an ambiguous relation among them.^[17] A similar process is at work in Voigt’s 48-part series Love as Passion: On the Codification of Intimacy, which takes responds to Niklas Luhmann's 1982 book by the same name. Each drawing in Codification of Intimacy takes a chapter, passage, or key word that Voigt distilled from Luhmann’s book as its source. Voigt begins each drawing by marking the passages in the text that triggered intuitive associations.

Immersion (2018/2019)[edit]

Immersion takes as its starting point the process of perception itself. It deals less with exactly what we perceive than how we perceive. The series seeks to develop appropriate forms to understand the inner constitution of archetypal images, that which is behind what we see, and how such images might be experienced or shared collectively. A central element in these works is the torus, a shape that Voigt conceives of as a model for perception, in combination with arrows, axes, and lines. Voigt first began working with these forms in her Lacan Studies from 2016.^[18] She begins each work in the Immersion series by immersing paper in pigment. Each color is selected to denote a particular atmosphere or emotional state.^[19] A large torus figure forms the central element of the composition and in each variation its dimensions morph and rotate. Voigt describes Immersion as a “time-based series,” with each piece created one after the other and representing a different moment in time. “When you look at the series as a whole you can see the exact connection between those moments,” Voigt explains, “In real life you focus on each moment at a time, and you can’t stop and zoom out in order to see the bigger picture.”^[20] Another variable element of the compositions are Voigt’s use of gold and precious metals. She incorporates metal inlays by cutting out sections of the drawings and gilding them with gold, aluminum, and copper leaf and reintegrating the shapes into their original place in the composition.

Museum collections[edit]

Jorinde Voigt’s work is included the international museums and public collections, including Centre Pompidou, Paris; Museum of Modern Art, New York; Art Institute of Chicago; Kupferstichkabinett Berlin; Istanbul Modern; the Federal Art Collection Bonn, the Hamburger Kunsthalle, Hamburg; Kunsthaus Zürich; Kunstmuseum Stuttgart; Norwegian Museum of Contemporary Art, Oslo; and the Grafische Sammlung, Munich.

Exhibitions[edit]

2019 Wall Drawings Series: Jorinde Voigt, Menil Drawing Institute, Houston
2019 Jorinde Voigt – Universal Turn, Horst-Janssen-Museum, Oldenburg
2018 Jorinde Voigt – Divine Territory, St. Matthäus Church, Berlin
2017 Jorinde Voigt – A New Kind of Joy, Kunsthalle Nürnberg
2014 Jorinde Voigt – Super Passion, MACRO Museum of Contemporary Art of Rome, Rome
2013 Jorinde Voigt – Systematic Notations, Nevada Museum of Art NMA
2011 Jorinde Voigt, Von der Heydt Museum, Wuppertal
2010 Jorinde Voigt – Staat / Random I-XI, Gemeentemuseum Den Haag
2009 Jorinde Voigt – Symphonic Area, HDKV Heidelberger Kunstverein
2008 Jorinde Voigt - Dualnab Nassauischer Kunstverein Wiesbaden

References[edit]

^ "LVH Art in Conversation with Cellist-turned-Artist Jorinde Voigt". www.lvhart.co. Retrieved 2023-05-19.
^ "Jorinde Voigt - Artists - Sicardi | Ayers | Bacino | Art Gallery". www.sicardi.com. Retrieved 2023-05-19.
^ Schmidt-Burkhardt, Astrid (2015). Jorinde Voigt: Now. Buchhandlung Walther König. p. 12. There are no specific references, quotes or allusions [to other artists in Voigt's work]. However, it is from the development of conceptual art approaches that Voigt's specific examination process evolved, one that could be referred to by the catchword 'conceptual drawing.'
^ Schmidt-Burkhardt, Astrid (2015). Jorinde Voigt: Now. Buchhandlung Walther König. p. 12.
^ Sherwin, Skye (12 April 2012). "Artist of the Week 185: Jorinde Voigt". The Guardian.
^ "Jorinde Voigt, STAAT/RANDOM 1-11". Kunstmuseum Den Haag.
^ Schmidt-Burkhardt, Astrid (2015). "The Power of Imagination Is the Medium That I Really Use: Jorinde Voigt in Conversation with Stephanie Damianitsch". Jorinde Voigt: Now. Buchhandlung Walther König. p. 250. I do not see John Cage or the representatives of Conceptual art as role models; rather, everything that fascinates me finds its way into my work. So I don't want to let myself be pigeonholed into a certain genre or tradition: I see my work solely as an act of questioning. This questioning always comes directly from my life, ultimately from the very human question: What is it that surrounds me here?
^ Schmidt-Burkhardt, Astrid. "The Power of Imagination Is the Medium That I Really Use: Jorinde Voigt in Conversation with Stephanie Damianitsch". Jorinde Voigt: Now. p. 249.
^ "Jorinde Voigt in conversation with Stephanie Damianitsch". Jorinde Voigt: Now. Buchhandlung Walther König. 2015. The Power of Imagination is the Real Medium I Use
^ Khadivi, Jesi (2019). "Something Strange at the Heart of Me: Jorinde Voigt's Immersion". Immersion. Hatje Cantz.
^ Schmidt-Burkhardt, Astrid (2015). Jorinde Voigt: Now. Buchhandlung Walther König. p. 10.
^ "The Power of Imagination Is the Medium That I Really Use: Jorinde Voigt in Conversation with Stephanie Damianitsch". Jorinde Voigt: Now. Buchhandlung Walther König. 2015. p. 248.
^ Schmidt-Burkhardt, Astrid (2015). Jorinde Voigt: Now. Buchhandlung Walther König. p. 10.
^ Sintermann, Lisa (2013). "On Dust and Colour: Notation and Diagrams in the works of William Engelen and Jorinde Voigt". KAI 10 | Raum für Kunst, Arthena Foundation, Düsseldorf (Ed): Drawing a Universe. Bielefeld: Kerber Verlag. pp. 38–50.
^ Yau, John (2012). "The Crucible of Meaning". Jorinde Voigt: Piece for Words and View. Berlin: Hatje Cantz.
^ Yau, John (2012). "The Crucible of Meaning". Jorinde Voigt: Piece for Words and View. Berlin: Hatje Cantz.
^ Alperin, Jess. "Piece for Words and Views". Kenyon College: Gund Gallery.
^ Khadivi, Jesi (2019). "Something Strange at the Heart of Me: Jorinde Voigt's Immersion". Immersion. Berlin: Hatje Cantz. … [a] geometric form explored by psychoanalyst Jacques Lacan, in multiple configurations. Lacan first referenced this donut-like figure in his essay The Freudian Thing, or the Meaning of the Return to Freud in Psychoanalysis" (1955) and analyzed it at length in his topological studies of the 1970s. Lacan used the figure to illustrate his notion of "extimacy" (extimité), a neologism that combines the terms exterior (exterieur) and intimacy (intimité).
^ Khadivi, Jesi (2019). "Something Strange at the Heart of Me: Jorinde Voigt's Immersion". Immersion. Hatje Cantz.
^ "Place of Origin". The Forumist.

Authority control databases
International	FAST ISNI VIAF
National	Norway France BnF data Catalonia Germany Israel United States Netherlands
Artists	KulturNav Museum of Modern Art RKD Artists ULAN
Other	IdRef