Jorinde Voigt
Tried to reword some statements on her work to trim fat but could probably still do with cutting down for preciseness
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=== ''Views on Chinese Erotic Art. From 16th to 20th Century'' (2011–2012) === |
=== ''Views on Chinese Erotic Art. From 16th to 20th Century'' (2011–2012) === |
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''Views on Chinese Erotic Art. From 16th to 20th Century'' is based on historic Chinese [[Erotic art|erotic paintings and prints]]. Voigt studied these images and rebuilt them using paper cutouts, short fragments of text, and simple diagram-like layouts.{{Cite book |last=Sintermann |first=Lisa |title=KAI 10 {{!}} Raum für Kunst, Arthena Foundation, Düsseldorf (Ed): Drawing a Universe |publisher=Kerber Verlag |year=2013 |location=Bielefeld |pages=38–50 |chapter=On Dust and Colour: Notation and Diagrams in the works of William Engelen and Jorinde Voigt}} |
''Views on Chinese Erotic Art. From 16th to 20th Century'' is based on historic Chinese [[Erotic art|erotic paintings and prints]]. Voigt studied these images and rebuilt them using paper cutouts, short fragments of text, and simple diagram-like layouts.{{Cite book |last=Sintermann |first=Lisa |title=KAI 10 {{!}} Raum für Kunst, Arthena Foundation, Düsseldorf (Ed): Drawing a Universe |publisher=Kerber Verlag |year=2013 |location=Bielefeld |pages=38–50 |chapter=On Dust and Colour: Notation and Diagrams in the works of William Engelen and Jorinde Voigt}} Voigt repeatedly scrutinised each piece for separate observations, which would be compiled into her own work.{{Cite web |last=alan |date=2018-09-04 |title=Jorinde Voigt |url=https://www.klosterfeldeedition.de/en/jorinde-voigt/ |access-date=2026-02-18 |website=Klosterfelde Edition |language=en-GB}} This resulted in the finished pieces resembling charts or tables rather than traditional pictures.{{Cite book |last=Yau |first=John |title=Jorinde Voigt: Piece for Words and View |publisher=Hatje Cantz |year=2012 |location=Berlin |chapter=The Crucible of Meaning}} Poet and critic [[John Yau]] wrote that "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." |
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=== ''Piece for Words and Views'' (2012) and ''Love as Passion: On the Codification of Intimacy'' (2013–2014) === |
=== ''Piece for Words and Views'' (2012) and ''Love as Passion: On the Codification of Intimacy'' (2013–2014) === |
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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 attempted to find images that corresponded to internal processes. The series transforms specific words from ''[[A Lover's Discourse: Fragments|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 was made by collaging multiple images, forming |
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 attempted to find images that corresponded to internal processes. The series transforms specific words from ''[[A Lover's Discourse: Fragments|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 was made by collaging multiple images, forming a relation among them.{{Cite web|last=Alperin|first=Jess|title=Piece for Words and Views|url=http://www.thegundgallery.org/2016/01/jorinde-voigt-piece-for-words-and-views/|website=Kenyon College: Gund Gallery}} |
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In Voigt's 48-part series ''Love as Passion: On the Codification of Intimacy'', a passage from [[Niklas Luhmann]]'s 1982 book by the same name is distilled into a drawing.{{Cite web |title=Voigt, Jorinde: Codification of Intimacy - Works on Niklas Luhmann, Liebe als Passion {{!}} Revolver Publishing |url=https://revolver-publishing.com/voigt-jorinde-codification-of-intimacy-works-on-niklas-luhmann-liebe-als-passion.html |access-date=2026-02-18 |website=revolver-publishing.com}} |
In Voigt's 48-part series ''Love as Passion: On the Codification of Intimacy'', a passage from [[Niklas Luhmann]]'s 1982 book by the same name is distilled into a drawing.{{Cite web |title=Voigt, Jorinde: Codification of Intimacy - Works on Niklas Luhmann, Liebe als Passion {{!}} Revolver Publishing |url=https://revolver-publishing.com/voigt-jorinde-codification-of-intimacy-works-on-niklas-luhmann-liebe-als-passion.html |access-date=2026-02-18 |website=revolver-publishing.com}} |
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=== ''Immersion'' (2018–2019) === |
=== ''Immersion'' (2018–2019) === |
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''Immersion'' |
''With Immersion'', Voigt sought to develop appropriate forms to understand the inner constitution of archetypal images and how to share or experience such images collectively. Central elements in these works include the [[torus]], arrows, axes, and lines.{{Cite book|last=Khadivi|first=Jesi|title=Immersion|publisher=Hatje Cantz|year=2019|location=Berlin|chapter=Something Strange at the Heart of Me: Jorinde Voigt's Immersion|quote=… [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).}} Voigt commences each work in the ''Immersion'' series by immersing paper in [[pigment]]. Each color denotes a particular atmosphere or emotional state. A large torus figure forms the central element of the composition, while every variation features a change in its dimensions. Voigt describes ''Immersion'' as a "time-based series", with each piece created one after the other and intended to reflect an individual 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 to see the bigger picture."{{Cite web|title=Place of Origin|url=https://theforumist.com/place-of-origin/|website=The Forumist |date=7 March 2019 }}{{Cite book |url=https://www.artbook.com/https:/www.artbook.com/9783775745246.html |title=Jorinde Voigt: Immersion - ARTBOOK{{!}}D.A.P. |language=en}} |
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== Museum collections == |
== Museum collections == |
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