Published by Hatje Cantz. Edited by David Nolan. Text by Franz W. Kaiser, Jorinde Voigt.
Described by The Guardian as a “rising star” on the German art scene, German artist Jorinde Voigt (born 1977) has been steadily developing a semiotic system in her drawings that interweaves subjectivity and systematics, spontaneity and meticulousness, chaos and order, poetry and science. Through her philosophical drawing process she attempts to reveal complex phenomena from our environment and culture in visual compositions founded upon certain parameters. The starting point for Voigt’s current series of works, Ludwig van Beethoven, Sonate 1–32, comprises the musical scores for the cycle of piano sonatas that Beethoven composed in the late 18th and early 19th centuries, which has been called the “New Testament of music.” Here, the artist does not strive to illustrate or interpret the music; rather, she was more concerned with researching perception and “developing a way of writing that extracts the emotional spectrum inscribed in Beethoven’s scores”—in other words, to survey the invisible.
Published by Hatje Cantz. Edited by David Nolan. Text by John Yau.
Music, weather, geography, literature and philosophy are among the subjects that inspire Jorinde Voigt’s mesmerizing diagrammatic drawings, all of which she renders into a dizzying maelstrom of lines and notations as one idea links to the next. In Piece for Words and Views, Voigt turns to Roland Barthes’ A Lover’s Discourse to produce 36 drawings, which this volume gathers.
In her drawings, German artist Jorinde Voigt (born 1977) develops a code of abstractionist signage that at first appears deeply subjective but soon reveals itself as the product of strict rules and systems. Blurring borders between science and art, these drawings analyze the structures of diverse cultural patterns via abstract parameters such as speed, frequency and orientation.
Published by Kerber. Text by Andrew Cannon, Oliver Tepel.
Matrix & Lemniscate, a collaboration between the artist Jorinde Voigt and composers Patric Catani and Chris Imler, addresses what happens when mortal beings encounter unending movement. Voigt draws structures that evoke infinite loops or processes, and Catani and Imler respond to Voigt's drawings by recreating the “8” infinity motif as an acoustic cluster.