Passio | Niklas Luhmann | Liebe als Passion | Passion: Rhetorik des Exzesses and Erfahrung der Instabilität | XXI Matrix 1-191 | Rotationsrichtung | Rotationsgeschwindigkeit | 1-95 Umdrehungen/ Tag | Vorgestern → ∞ | Gestern → ∞ | Heute → ∞ | Morgen → ∞ | Übermorgen → ∞ | Egomotion | Himmelsrichtung N-S | Now

Details

This work will be included in the artist’s Catalogue Raisonné under the number 2013-167. Exhibitions: Jorinde Voigt. Codification of Intimacy. Works on Niklas Luhmann, Liebe als Passion, David Nolan Gallery, New York 2014, cat. no. 54, 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. Her works expand the medium of drawing in a fascinating way: series such as “Love as Passion” are drawn reference systems to specific themes. Her subjects range from the interpretation of a musical composition, literary works and natural phenomena to philosophical ideas. The present works are part of a 48-part series entitled “Love as Passion” based on the eponymous 1982 book by the sociologist Niklas Luhmann. In it, he explores the question as to what extent society shapes our idea of love. Voigt’s delicate drawings are the complex visual result of her intepretation of Luhmann’s ideas. She often formulates the works in various dimensions using arrows, words, figures, different directions, and diagrams. The large-format drawings for “Love as Passion” are also characterised by a varied and intense array of colours: gold, red, and blue are the primary tones used in this almost lyrical cycle. Her work is always both conceptual and lyrical, whereby Voigt uses drawing and writing as an almost gestural action. The interwoven processes of drawing and thought can be 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.