Hecker (b. 1975, Kissing, Germany) had exhibited and performed internationally. In 2012 his work was featured in dOCUMENTA (13) in Kassel, Germany. Recent solo exhibitions include Articulação, Lumiar Cité & Jardim Botânico, Lisbon; Mehringdamm 72, Berlin; Event, Stream, Object, MMK Museum für Moderne Kunst, Frankfurt, Germany; Chisenhale Gallery, London and Ikon, Birmingham, both 2010. He has been included in numerous group exhibitions including In the Holocene, MIT List Visual Arts Center, Cambridge, MA, USA; and No night No day, collaboration with Cerith Wyn Evans, 53rd Venice Biennial, Italy, 2009. Recent live performances include Speculative Solution, Nouveau Festival, Centre Pompidou, Paris, 2012; Tate Modern Live: Push and Pull, A Two-Day Performance Event, Tate Modern, London (with Mark Leckey), 2011; and INSTAL 10, Tramway, Glasgow, 2010. In 2009, a major publication on his work was produced in conjunction with Event, Stream, Object at MMK, Frankfurt. In addition, he has an extensive discography, with three new vinyl recordings of Chimerization being released to coincide with this exhibition. In February 2013 Primary Information will publish an artist book by Florian Hecker.
Text courtesy Sadie Coles HQ.
Ellie Lee and Matt Connolly, founders of the non-profit Equitable Vitrines in Los Angeles, discuss site-specificity, expanded formats for exhibition-making, and the nuances of commissioning public art.
SynAsTex Korrektur (2019) is a synthetic composition embracing the histories of analysis, abstraction and resynthesis of sound, in a live, computer-generated, 9-channel sound piece by the German artist Florian Hecker, one of the leading exponents of contemporary computational music. Presented by Xing, the School of Engineering and Architecture...
Florian Hecker: 'My works are sound pieces, "installations," that is to say, compositions and, in the majority of cases, are more space- than site-specific. This bifurcation, which leaves art-theoretical and musicological interpretations open, is able to situate and comment historically upon different references and components appearing...
What do machines hear that humans cannot? Artist Florian Hecker explores the formal, perceptual, and aesthetic possibilities afforded by custom machine-listening software in 1935. Through the use of computer audition, Hecker explores degrees of perceptual resolution hitherto inaccessible via human listening.
These investigations focus on the decomposition of sound and on synthesising incompatible modalities, surpassing their respective particularities without fusing them, in order to obtain a narration beyond immediate comprehension, which may be deciphered through repeated, ‘active’ listening.
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