Zentrale Momente der Sinngebung | Niklas Luhmann | Liebe als Passion | Evolution der Liebessemantik | XII Matrix 1-77 | Rotationsrichtung | Rotationsgeschwindigkeit | 1-34 Umdrehungen/ Tag | Vorgestern → ∞ | Gestern → ∞ | Heute → ∞ | Morgen → ∞ | Übermorgen → ∞ | Egomotion | Now | Himmelsrichtung N-S

Details

This work will be included in the artist’s Catalogue Raisonné under the number 2013-158.

Exhibitions:
Jorinde Voigt. Codification of Intimacy. Works on Niklas Luhmann, Liebe als Passion, David Nolan Gallery, New York 2014, cat. no. 36, with full-page col. illus. Provenance: Private collection, Belgium.

Description

• Large-format work on paper in an appealing colour palette

• Typical of the artist’s reference to the philosophical ideas of the famed societal theorist Niklas Luhmann

• One of the most sought-after female artists on the international market, represented by the David Nolan Gallery in New York and Galerie Klüser in Munich. Jorinde Voigt has been a professor at the Hochschule für bildende Künste in Hamburg since 2019

Jorinde Voigt’s works add a fascinating dimension to the medium of drawing: series such as “Love as Passion” are drawn reference systems for selected themes. Her subjects can be interpretations of a musical composition, a literary work, a natural phenomenon or a philosophical thought. These works are part of the 48-part picture cycle “Love as Passion”, which is based on the 1982 book of the same name by sociologist Niklas Luhmann. In it, he explores the extent to which society shapes our ideas of love. Voigt’s delicate drawings represent the complex visual result of her interpretation of Luhmann’s ideas. She often works them out simultaneously in different dimensions using arrows, concepts, figures, rotations and diagrams. The large-format drawings for “Love as Passion” are also characterised by a particularly diverse, intense colour scheme: Gold, red and blue are the predominant colours in this almost lyrical cycle. This is because her work is always both conceptual and lyrical, with Voigt realising drawing and writing as a kind of gestural action. These interwoven thought and drawing processes are improvised, condensed and stretched at will and also allow for collisions. Voigt’s drawings can be read, interpreted and aesthetically enjoyed like music. They can hardly be defined in concrete terms.