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Jorinde Voigt in im Atelier Liebermann: Jorinde Voigt – Constant Vision at Max Liebermann Haus

Installation view im Atelier Liebermann: Jorinde Voigt – Constant Vision, Max-Liebermann-Haus, Berlin, Germany, 14.03.- 09.06.2024. Photo: Sebastian Bolesch © Stiftung Brandenburger Tor and Sebastian Bolesch

im Atelier Liebermann: Jorinde Voigt – Constant Vision
15 March – 09 June 2024

This year, in the exhibition series im Atelier Liebermann, Stiftung Brandenburger Tor, the cultural foundation of Berliner Sparkasse, is presenting the work of internationally renowned artist Jorinde Voigt. The 44 drawings, sculptures and objects displayed under the title Constant Vision include excerpts from her most recent work as well as significant older work groups.

At the centre of the exhibition stands the largest interconnected installation to date of Voigt's group of works Betrachtung / Contemplation (2019–2021). Embedded in a spatial framework conceived and constructed on site, a total of 14 objects recalling mobiles bring an exhibition space bathed in deep blue to life. The configuration of the mobiles, composed of brass chains and wires, is based on the Fibonacci sequence, a series of numbers whose proportions can be found throughout the natural world.

The 64-part cycle Japanese Erotic Art. 17th–19th Century (created already in 2012) is exhibited as a ribbon spanning the exhibition space. Jorinde Voigt drew inspiration here from Japanese shungas, erotic paintings and colour woodcuts of the Edo period (1603–1868). The artist approaches these historical works with a distance akin to that of a researcher, by dissecting the visual vocabulary in terms of form and colour, remixing it following specific self-imposed instructions and incorporating it in her own notations.

Alongside sculptures and paper works such as Red Rhythm (2022), the exhibition also features important key works by the artist – from Epikur (2013) and Immersion (2018) to Potential (2020) – which Jorinde Voigt places in dialogue with works by other artists whose art has exerted a considerable influence on her own development. These include works by Vito Acconci, Joseph Beuys, Monica Bonvicini, Hanne Darboven, Gregor Hildebrandt, Bianca-Rose Heckmann, Anselm Reyle, Jeremy Shaw and Pola Sieverding.

The exhibition format im Atelier Liebermann is an ongoing reflection on the fact that today's Max Liebermann Haus at Pariser Platz was once an important location for contemporary art production. For this reason, Jorinde Voigt, like Monika Bartholome and Michael Wesely before her, has chosen to create works of art on-site. Wall drawings on the upper floor forge a link to this tradition. The integration of templates for her wood and metal sculptures as well as working notes for Contemplation/Begegnung also provides insight into the artist's creative process for the first time within an exhibition of her work.

Voigt, born in 1977 in Frankfurt am Main, is a professor for painting and conceptual drawing at Hamburg's Hochschule für Bildende Künste (HFBK). She herself initially studied philosophy, contemporary German literature and sociology in Göttingen and Berlin from 1996 to 1998, before earning a degree in fine art from Berlin's University of the Arts in 2004. Voigt is a multi-disciplinary artist who works with diverse media. Drawing – conceived as notation – serves however as the central departure point for her creative practice.

The series im Atelier Liebermann has previously featured exhibitions by Daniel Richter/Jack Bilbo and Wolfgang Petrick (2017), Leiko Ikemura/Donata and Wim Wenders, as well as Nanne Meyer (2018), Bjørn Melhus (2019), Gerhard Richter (2021), Michael Wesely (2022) and Monika Bartholomé (2023).


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