Jorinde Voigt
29 Jan 2009 - 12 Mar 2010
JORINDE VOIGT
“Stochastik Storms”
January 29 - March 12, 2009
Galerie Klüser 2
Galerie Klüser is delighted to present the first exhibition in Munich by the young Berlin artist Jorinde Voigt. Employing her own visual language, the 32-year-old describes her environment by transforming everyday phenomena such as eagle flight paths, kisses, Top Ten songs etc. into an abstract system of representation.
In her large-format drawings, Voigt combines a wide range of actions in one image and analyses each individual process in terms of its relation to time, space, velocity and form. This process of encoding, which is comparable to notation in music, enables her to systemise a world that is so hard to grasp today because of its fast pace and abundance of visual and acoustic impressions. The most important elements in her works are direction change, rotation, acoustic fields, power lines, pop songs, patterns of action (2 Kiss Each Other), eagle flight paths, and trajectories.
The currently exhibited works include two additional elements, new in this form in Jorinde Voigt’s symbolic language. One of these is Count / Rhythm – numerical fields whose arrangements lead to rhythms that evolve through the act of counting. Secondly, there is a variation on one of the key elements of her work: the angle of vision. Starting out from several different standpoints, she delineates the resulting radii of perception of 180 degrees. Dark areas alternate with light patches, overlapping each other and becoming denser. This is a scanning of space, starting out from altering standpoints, which are generally only connected to each other by a time-line. As always, the artist approaches this new theme by examining the element in isolation in new studies, which are exhibited in the rear rooms of the gallery.
She has combined these new aspects with earlier elements in the several-part large-format works. Space and time, as they deal with the angle of vision, are supplemented by the parameters of speed, direction change, temperature patterns, electricity and acoustic impulses. The individual actions are reduced to their essence. To clarify this, some elements are described more precisely in the following:
Eagle Flight Paths: The eagle’s wealth of significance in terms of symbolism, mythology, heraldry and biology is a key factor for Voigt. As a heraldic animal, it can be found on the flags of 13 nations. It stands for existential concepts which are also of key importance in art: immortality, courage, farsightedness and power. In addition, it visualises collective, organisational and administrative processes.
By means of their flight paths and their height, Jorinde Voigt’s eagles describe the space available to them. They are numbered in succession and all start out from one point. Behaving like a typical flock, the group separates; some eagles diverge and then rejoin the rest of the eagles, as well as another splinter group. In this way, the flock separates more and more, coming back together at other points until all the eagles find their way back into the original grouping at the end.
Patterns of Action (2 Kiss Each Other): The patterns of action of “2 Kiss Each Other” are described partly as infinite and partly as finite actions, given in minutes or seconds.
Infinite action (2 Kiss Each Other): the infinite action is based on the Fibonacci sequence. The values zero and one are prescribed for the two first numbers. Every additional number is the sum of its two predecessors. This results in the sequence of numbers 0,1,1,2,3,5,8,13,21,34,55,89 etc. The first kiss lasts for 1 minute, followed by a 1-minute break, the next kiss last for 2 minutes, followed by a 3-minute break etc. The number of couples in the next action is determined by the duration of the kiss.
Finite action (2 Kiss Each Other): in the case of finite patterns of action, series of numbers are counted in opposition to each other, e.g. 11-00, 10-01, 09-02, 08-03, 07-04, 06-05, 05-06, 04-07, 03-08, 02-09, 01-10, 00-11. The first kiss lasts for 10 minutes, followed by a 1-minute break, and the second kiss lasts for 9 minutes, followed by a 2-minute break etc. Here too, the duration of the kiss determines the number of couples.
Pop songs – beat by beat: a pop song is often linked to memories and potentially, it functions as a consumable element in which to store private and collective emotionality. In her works, Jorinde Voigt sets down the sequence of the top 100 songs as a foundation for an overlying system that does not change along with changes to the hit parade. The No. 1 is generated by a title with one beat, the No. 2 by the second title with 2 beats (title 2, beat 1 / title 2 beat 2), the No. 3 from the third title with 3 beats (title 3, beat 1 / title 3, beat 2 / title 3, beat 3) etc. This form of notation leads to a concrete sound based on the apparatus of the music industry. The notation of the pop songs in the drawings takes place according to beats, just as beats function as a basic notated / conceived / experienced framework for every actual piece of music. The individual beat stands for the smallest rhythmic unit in music, through which the rhythm of a piece is defined.
Electric current: in everyday language, the term current describes the transmission or measuring of electric energy. In Jorinde Voigt’s work, the notation adopts the image of power lines or overhead cables and so points, among other things, to society’s dependence on electricity supplies (as an integral component of culture). In her drawings, the power lines function as a structuring element or a compositional caesura.
Jorinde Voigt is not concerned with the scientific investigation of individual processes; instead, she uses the simultaneity of very different patterns to create a system of aesthetic order in which art and science are made adjacent, with equal value, mutually complementing one another. Here, science should not be understood in the classical sense, but as a philosophical pattern, as a means towards the realisation of something that is conceivable - a stochastic model. The medium of the drawing, the foundation of all thought models in both fields, provides her with the ideal platform for this.
MI + MII
In addition, the artist’s first sculpture is being exhibited in the main room of the gallery, which has been provided with a “dance floor” especially for the occasion. The robot installation MI and MII is a study of movement and communication. The two robots glide through a pre-fixed space and interact with visitors by reacting to human movement and to their own activity. While one of the robots runs away from a person, the other one follows that same person, accompanied by acoustic signals.
The gallery is always happy to provide further information and press material.
“Stochastik Storms”
January 29 - March 12, 2009
Galerie Klüser 2
Galerie Klüser is delighted to present the first exhibition in Munich by the young Berlin artist Jorinde Voigt. Employing her own visual language, the 32-year-old describes her environment by transforming everyday phenomena such as eagle flight paths, kisses, Top Ten songs etc. into an abstract system of representation.
In her large-format drawings, Voigt combines a wide range of actions in one image and analyses each individual process in terms of its relation to time, space, velocity and form. This process of encoding, which is comparable to notation in music, enables her to systemise a world that is so hard to grasp today because of its fast pace and abundance of visual and acoustic impressions. The most important elements in her works are direction change, rotation, acoustic fields, power lines, pop songs, patterns of action (2 Kiss Each Other), eagle flight paths, and trajectories.
The currently exhibited works include two additional elements, new in this form in Jorinde Voigt’s symbolic language. One of these is Count / Rhythm – numerical fields whose arrangements lead to rhythms that evolve through the act of counting. Secondly, there is a variation on one of the key elements of her work: the angle of vision. Starting out from several different standpoints, she delineates the resulting radii of perception of 180 degrees. Dark areas alternate with light patches, overlapping each other and becoming denser. This is a scanning of space, starting out from altering standpoints, which are generally only connected to each other by a time-line. As always, the artist approaches this new theme by examining the element in isolation in new studies, which are exhibited in the rear rooms of the gallery.
She has combined these new aspects with earlier elements in the several-part large-format works. Space and time, as they deal with the angle of vision, are supplemented by the parameters of speed, direction change, temperature patterns, electricity and acoustic impulses. The individual actions are reduced to their essence. To clarify this, some elements are described more precisely in the following:
Eagle Flight Paths: The eagle’s wealth of significance in terms of symbolism, mythology, heraldry and biology is a key factor for Voigt. As a heraldic animal, it can be found on the flags of 13 nations. It stands for existential concepts which are also of key importance in art: immortality, courage, farsightedness and power. In addition, it visualises collective, organisational and administrative processes.
By means of their flight paths and their height, Jorinde Voigt’s eagles describe the space available to them. They are numbered in succession and all start out from one point. Behaving like a typical flock, the group separates; some eagles diverge and then rejoin the rest of the eagles, as well as another splinter group. In this way, the flock separates more and more, coming back together at other points until all the eagles find their way back into the original grouping at the end.
Patterns of Action (2 Kiss Each Other): The patterns of action of “2 Kiss Each Other” are described partly as infinite and partly as finite actions, given in minutes or seconds.
Infinite action (2 Kiss Each Other): the infinite action is based on the Fibonacci sequence. The values zero and one are prescribed for the two first numbers. Every additional number is the sum of its two predecessors. This results in the sequence of numbers 0,1,1,2,3,5,8,13,21,34,55,89 etc. The first kiss lasts for 1 minute, followed by a 1-minute break, the next kiss last for 2 minutes, followed by a 3-minute break etc. The number of couples in the next action is determined by the duration of the kiss.
Finite action (2 Kiss Each Other): in the case of finite patterns of action, series of numbers are counted in opposition to each other, e.g. 11-00, 10-01, 09-02, 08-03, 07-04, 06-05, 05-06, 04-07, 03-08, 02-09, 01-10, 00-11. The first kiss lasts for 10 minutes, followed by a 1-minute break, and the second kiss lasts for 9 minutes, followed by a 2-minute break etc. Here too, the duration of the kiss determines the number of couples.
Pop songs – beat by beat: a pop song is often linked to memories and potentially, it functions as a consumable element in which to store private and collective emotionality. In her works, Jorinde Voigt sets down the sequence of the top 100 songs as a foundation for an overlying system that does not change along with changes to the hit parade. The No. 1 is generated by a title with one beat, the No. 2 by the second title with 2 beats (title 2, beat 1 / title 2 beat 2), the No. 3 from the third title with 3 beats (title 3, beat 1 / title 3, beat 2 / title 3, beat 3) etc. This form of notation leads to a concrete sound based on the apparatus of the music industry. The notation of the pop songs in the drawings takes place according to beats, just as beats function as a basic notated / conceived / experienced framework for every actual piece of music. The individual beat stands for the smallest rhythmic unit in music, through which the rhythm of a piece is defined.
Electric current: in everyday language, the term current describes the transmission or measuring of electric energy. In Jorinde Voigt’s work, the notation adopts the image of power lines or overhead cables and so points, among other things, to society’s dependence on electricity supplies (as an integral component of culture). In her drawings, the power lines function as a structuring element or a compositional caesura.
Jorinde Voigt is not concerned with the scientific investigation of individual processes; instead, she uses the simultaneity of very different patterns to create a system of aesthetic order in which art and science are made adjacent, with equal value, mutually complementing one another. Here, science should not be understood in the classical sense, but as a philosophical pattern, as a means towards the realisation of something that is conceivable - a stochastic model. The medium of the drawing, the foundation of all thought models in both fields, provides her with the ideal platform for this.
MI + MII
In addition, the artist’s first sculpture is being exhibited in the main room of the gallery, which has been provided with a “dance floor” especially for the occasion. The robot installation MI and MII is a study of movement and communication. The two robots glide through a pre-fixed space and interact with visitors by reacting to human movement and to their own activity. While one of the robots runs away from a person, the other one follows that same person, accompanied by acoustic signals.
The gallery is always happy to provide further information and press material.