1 MAY until 6 JUN 2026
Opening – 1 MAY 2026, 6-9 pm

At Potsdamer Strasse 83

For Gallery Weekend 2026, Galerie Judin will be presenting Jorinde Voigt’s first solo exhibition with the gallery in their Mercatorhöfe space, titled “Non-Fiction”.

Jorinde Voigt, born in Frankfurt/Main in 1977, has emerged as one of the most distinctive artistic voices of her generation. Combining conceptual rigor with technical sensitivity and a singular visual aesthetic, her work lends traditional media—especially paper—an unexpected immediacy.

Through her works, Voigt measures the world—and herself in the process. Her approach is reminiscent of artistic research that explores underlying structures rather than seeking results. It is about modes of functioning, sequences of movement, and patterns of perception. Time and again, it concerns the intertwining of external phenomena and their individual processing – transforming invisible structures into visible orders in an extensive series of works. Thus, Voigt is in pursuit of the “programming,” or algorithm, of the analog world.

The artist transposes phenomena of movement, perception, and shape into numbers, letters, symbols, and texts in order to develop new visual systems. Using diagrams, charts, and internal mapping, she creates her own modes of representation. What may appear stark and somewhat clinical at first glance is, upon closer inspection, remarkably rich in emotion. Many of her pictorial “scores” revolve around themes such as feelings, physicality, or their absence. Often, a casual observation, a line from a text, or a musical motif is enough to give rise to a complex series of works.

By accompanying her works with texts and protocols, Voigt gives them a second layer: She reveals the process of visualization itself, turning the audience into an accomplice in the artistic execution. This disclosure of the structures advances the fascination with which we contemplate the “algorithms” of nature, heightening our awareness of the subtle frameworks through which we understand and navigate the world and everyday life.

1 MAY until 14 JUN 2026
Opening – 1 MAY 2026, 6-9 pm

At Die Tankstelle – Bülowstrasse 18

Marking his inaugural show with the gallery, Galerie Judin will open Adam Lupton’s first solo exhibition “Too Sure of the Sun” at Die Tankstelle, on the occasion of Gallery Weekend Berlin.

Adam Lupton, born in Vancouver in 1987, moved to Berlin in 2022, marking a refinement of his artistic focus—both in style and subject matter. In Berlin, a city synonymous with boundless possibilities, Lupton restricted his palette to two spectral hues and their tonal variations. This self-imposed limitation has not constrained his practice; rather, it has deepened and sharpened it. Employing only red and blue—colors emblematic of emotional extremes—Lupton constructs scenes of contemporary urban life that at first appear serene and idyllic. His works evoke a cinematic curation, yet behind the composed interiors, striking portraits, and urban vistas, subtle fissures open into existential depths.

A pervasive sense of melancholy, solitude, and yearning runs through Lupton’s paintings. Though his compositions offer a striking degree of intimacy, they also convey a persistent sense of absence. The urban backdrops, red-brick facades, labyrinthine thoughts, and steady unease evoke the neurotic, introspective worlds of a Franz Kafka novel. Lupton evocatively represents the emotional texture of a generation suspended in an endless coming of age, a perpetual process of self-scrutiny. His practice engages with themes of mental health—particularly obsessivity, anxiety, isolation, and societal pressure—while sounding out questions of class, belonging, and masculinity. Rendered in delicate blues and pastel pinks, his imagery both invokes and deconstructs traditional tropes of male identity.

Lupton’s paintings are elaborate constructs, assembled like collages, using an array of materials to create varied surface textures and patterns. Faces and objects are often monoprints—first painted on separate substrates and then transferred in reverse, while fabrics, wallpapers, and further assorted materials are employed through stamping techniques. Recurring motifs such as matches, figs, daggers, flies, and strands of hair mirror his own repetitive intrusive thoughts, stitching together a visual language of uncertainty, internal discomposure, and liminality across his body of work.