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Tag: Mirko Borsche

Munich; Jorinde Voigt ‘Now’ at Klüser galleries

november 19, 2015-february 13, 2016; at Galerie Klüser -Georgenst. 15 & Galerie Klüser 2 – Türkenstr.23

‘..extraordinary, dynamic ‘drawings’

Jorinde Voigt is known for her lyrical sensibility as well as her calibrated approach to creating artwork. She is a classically trained musician from a family of scientists….

At nine years old Jorinde Voigt  began to play the cello, learnt to read music and matured into a gifted young performer. In 1996 she went to Göttingen’s Georg-August-Universität to study literature and philosophy. To help her understand the subjects she drew diagrams for herself, transforming words into idea maps. (interviewed by Rory McLean, february 2010) 


installation view “Jorinde Voigt Now”, Klüser gallery, photo@Jamie Fischer

In her new exhibitions at both Klüser galleries, Jorinde  Voigt (b.1977)  shows three new groups of works; you may see the series “Now, Hauro and Synchronicity”. ….” It is getting very difficult to call Jorinde Voigt’s current works drawings; in more general terms, they should perhaps be seen as pictorial and imaginary worlds. … Voigt’s typical grid of lines, numbers and written words creates the base for emergent, exuberant, scarcely assignable constellations of colours and forms. The method of depiction varies from rough to fine, abstract to representational, painterly to plastic. The wealth of materials here seems to know no bounds: gold leaf, white gold, ink, poster paints, oil chalks, pastels, pencil, and feathers dyed black.” Lisa Sinterman, Nov. 2015)


installation view “Jorinde Voigt Now”, Klüser galleries, München, photo@Jamie Fischer


installation view “Jorinde Voigt Now”, Klüser gallery,München,  photo@Jamie Fischer

Voigt is best known for her graceful spiralling arcs and parallel looped lines, stretched and interwoven, bursting across the page as if caught up in a strange temporal chain reaction.

“…..her imagery has specifically conjured graph-like linear systems—based on such exact references as musical scores, sound waves, linguistic structures, and mathematical algorithms—then these new drawings, inspired by Luhmann’s nonlinear writing, evoke a more biological take, as they track the evolution from one literary moment to the next. Voigt collages metallic leaf in varying tones alongside swaths of marigold, coral, and azure to create unusual floating forms with an illustrative impishness; the resulting pictures resemble space-age landscapes occupied by mercurial creatures. Her works are innately didactic: She carefully structures the bulbous shapes, framing each with a draftsman’s delicate, curved lines and handwritten text annotations. Ultimately, her drawings function as cognitive maps, as meaning multiplies from passages of text and grows into webs of association. As Voigt regards Luhmann’s discourse on societal structures enabling love, her drawings delineate her own way of reconciling information through whimsical interpretation, shaping an elegant visual reality from the tangles of language”. (Artforum- June 13th, 2014
Critics’ Pick, By Anne Preintnieks)

I have been admiring Jorinde Voigt  some years back when David Nolan, a wonderful gallerist/New York was explaining to me her amazing drawings  at Basel art fair, as one could read as music compositions.  Since I moved and live in Munich and go often at the opera, I am once again mesmerised  with Jorinde’s great   drawings in  the Bayerische Staatsoper books , created in the most elegant way by  Mirko Borsche,  Germany’s most respected art directors. I love Jorinde Voigt’s work.


Jorinde Voigt ‘Beobacktungenim Jetzt (2) Berlin 2015 -(front cover) on the book (Bayerische Staatsoper 2015/2016 Vermessen)
Jorinde Voigt, ‘Douglas R. Hofstadter, Gödel , Escher, Bach,”Die Air in G”, Berlin 2013 (back cover) on the book  (Bayerische Staatsoper 2015/2016 Vermessen)

Metropolis/ArteTV steps in Jorinde Voigt’s studio in Berlin (april 2015, published september 2015)


Atelier: Jorinde Voigt © ZDF/Kobalt


…Peculiar, sometimes breathtaking forms, from a gold-and-red double helix to floating clouds and virus-like spiky balls, are ringed by obsessive glosses on what Voigt, following Luhmann, calls the “codification of intimacy.” You won’t make out every detail, but her superb drawings are far more than the sum of their sometimes inscrutable parts. (The New Yorker- June 3rd, 2014, for the exhibition at David Nolan in New York) DSC_0027

 installation view “Jorinde Voigt Now”, Klüser gallery,München, photo@Jamie Fischer


14/11/2015 – 21/02/2016  exhibition of Jorinde Voigt at Kunsthalle Krems in Austria curated by Stephanie Damianitsch.  ….. Pop songs or pieces of classical music, temperature profiles, wind directions, arcs of light are systematically analyzed by the artist, as are acoustic impulses, angles of view, or colors of individual plants and the contents of philosophical texts.


Munich; Bayerische Staatsoper, Alban Berg : ‘LULU’ with Marlis Petersen

Premiere; Monday, May 25, 6 pm 

Lulu:Marlis Petersen

Composer: Alban Berg · Libretto after the tragedies “Erdgeist” and “Die Büchse der Pandora” by Frank Wedekind
In German with German surtitles | New Production-Duration est. 3 hours 55 minutes
Musikalische Leitung: Kirill Petrenko; Inszenierung und Bühne:Dmitri Tcherniakov;Kostüme:Elena Zaytseva; Licht:Gleb Filshtinsky; Produktions-dramaturgie:Malte Krasting; Choreographische Assistenz:Tatiana Baganova.




synopsis: Anyone who sees her is already lost and anyone who wants to kiss her will, sooner or later, get bitten. In droves, men are dashed to pieces on the apparently so cuddly Lulu as if she were the rock of the Loreley. Corpses pave her way, she is a femme fragile and a femme fatale all at the same time, the “prototype of a woman”, the most lethal female figure in the history of opera. But it is only the glance of men that makes her into the personae in which we meet her: She creates the image of a woman he craves and on this constraining perspective the object of his lusts must again be destroyed. Alban Berg has described Lulu’s path in subtle symmetry, with a score that bears within it the entire wealth of the history of music’s form and colour.



a great production with excellent stage setting and amazing performance by Marlis Petersen. A performance charged with intensity and great voices.

Kirill Petrenko was born in Omsk in 1972 and studied piano there at the Music Academy. At the age of eleven, he made his first public appearance as a pianist with the city’s symphony orchestra……Kirill Petrenko took up his appointment as General Music Director of the Bayerische Staatsoper on 1 September 2013, and during the 2013/14 season he conducted the premieres of Die Frau ohne Schatten, La clemenza di Tito and Die Soldaten. His second season will include the new productions of Lucia di Lammermoor and Lulu and, among others, the revival of Der Ring des Nibelungen. In 2015/16, Petrenko will be the musical director for the first performance of Miroslav Srnka’s South Pole and will conduct the premiere of Wagner’s Die Meistersinger von Nürnberg. In addition, the General Music Director will be directing the Bayerisches Staatsorchester in revivals of Ariadne auf Naxos, Die Walküre, Götterdämmerung, Die Fledermaus, Tosca and Der Rosenkavalier plus three Academy Concerts.
more here Lulu

and a radical publication of the “Lulu” with first pages old negatives of Pierre Molinier  by  the surprising and  amazing always art director Mirko Borsche (Mirko Borsche Bureau)






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