Frankfurt‐based soci­ol­o­gist, artist, and exhi­bi­tion man­ag­er. Works in visu­al arts with an empha­sis on instal­la­tion, closed‐circuit, video, and occa­sion­al­ly per­for­ma­tive inter­sec­tions of audio, video, and per­for­mance. For­mer­ly active at SIKS‐Frankfurt, HoRsT‐Gallus, and in extrem­ism research; cur­rent­ly at ZKM Karlsruhe.

Peter Voigt’s works in Unbes­timmtheitsstellen trace a his­toric and artis­tic line from the ear­ly days of ana­log elec­tron­ic pho­tog­ra­phy to con­tem­po­rary dig­i­tal image cap­ture. His pho­tographs build on trans­mis­sion errors and image faults first encoun­tered in the space pho­tog­ra­phy of the 1960s and 1970s, par­tic­u­lar­ly in NASA’s Sur­vey­or, Viking and Voy­ager mis­sions. These ear­ly glitch­es — caused by unsta­ble elec­tron­ic sig­nals and mechan­i­cal imper­fec­tions — become the start­ing point for a dia­logue with today’s syn­chro­niza­tion and black bal­ance errors found in high-res­o­lu­tion dig­i­tal backs.

Voigt delib­er­ate­ly works with the tech­ni­cal mar­gins of imag­ing devices, trans­form­ing unin­tend­ed faults into visu­al phe­nom­e­na that ques­tion per­cep­tion and real­i­ty. Using both orig­i­nal NASA images and his own con­tem­po­rary pho­tog­ra­phy, he reveals a con­ti­nu­ity of fragili­ty in tech­no­log­i­cal vision, despite decades of devel­op­ment. In Unbes­timmtheitsstellen, data loss, sig­nal noise, and syn­chro­niza­tion fail­ures are no longer mere mis­takes — they become mark­ers of a broad­er uncer­tain­ty, a reminder that even the most advanced imag­ing tech­nolo­gies remain bound to error, con­text, and interpretation.