One of the best stands is that of David Nolan, who is dedicated solely to the work of Jorinde Voigt. Starting with the lineargraphic graphic and gestural approaches of the learned musician to Beethoven's sonatas, the small retrospective extends to the golden and midnight blue shimmering images of 2018 and a cycle of works, the Roland Barthes "fragments of a language of love" in ciphers, patterns, Dynamograms, transmits things and signs: One sees in these works the emergence of a very own, eigenwelt language, from which one can only read fragments, whose forms one still understands as pictures of order, dissolution, hesitation, Accelerate, shrink, calculate, attractiveness. The beauty of harmonious parallel lines meets the beauty of a completely knotted chaos, heating the form to break-ins of deadly coldness, expeditionary troops of figures and drawings and notes marching through mental landscapes, diagrams turn into hilly landscapes, half-spoken words disappear in a stream of lines and numbers in particular, lines run as high-voltage lines over threedimensional shapes reminiscent of extraterrestrial body parts.
David Nolan Gallery
Galleries Section, Booth 707
With works by Jorinde Voigt
The prolific Berlin-based artist Jorinde Voigt holds the title for most chromatically pleasing works at the fair. To achieve the effervescent turmeric yellow of her Immersive Integral Firm Radiance V (2018–19)—a painting-drawing hybrid that incorporates gold leaf, pastel, and graphite—Voigt submerged the entire sheet of paper in a dish of India ink. The work’s “immersive color,” as David Nolan Gallery director George Newall described it, is an effect enhanced not only by the artist’s painted frame, but also by the gallery’s decision to decorate the booth in a soothing teal color. This and similarly energetic, abstract compositions are on offer for $60,000, while a larger showstopper like Immersive Integral Zenith XVII (2018), which seems indebted to the mysterious symbolism of Hilma af Klint, goes for $105,000. These powerful colors add another compelling and strangely spiritual dimension to Voigt’s expansive explorations of drawing, which seek to “map ethereal phenomena,” Newall said. Drawings of this ilk from the early aughts round out the presentation, and seem to presage the more recent works.