Formulation by Florian Hecker

Hamburger Bahnhof, Berlin, 2015

As one of four artists shortlisted for this year’s edition of the prestigious Prize of the Nationalgalerie, Florian Hecker has included Kvadrat Soft Cells in his work Formulation, where he dramatizes space with sound pieces.

Across the two exhibition halls housing Hecker’s installation, 143 m² Soft Cells panels cover the tall walls to create a textured, yet uniform surface. The acoustic effect of the panels is just as important to the work as it contributes to the play between the sound system and the sound-absorbing and – directing walls.

The Soft Cells panels cover the walls to create a textured, yet uniform surface with Divina 3 in a vibrant International Klein Blue. The acoustic effect of the panels is just as important to the work as it contributes to the play between the sound system and the  sound- absorbing and –directing walls.

‘The architectural and material features as well as the constraints of a site, play a crucial role in the staging of my sound pieces. For “Modulator” (2012) as part of the “Formulations” exhibition at Hamburger Bahnhof, I wanted to work with a technical sound-absorption system. Here the modular, made to measure Soft Cells panels serve as highly functional absorbers with a modern twist. Together with the entire playback apparatus and its underlying software they form a significant part in the dramatization of auditory events and objects’. Florian Hecker

Florian Hecker has included Kvadrat Soft Cells in his work Formulations, where he dramatizes space with sound pieces. He has previously integrated the acoustic panels into his work on the occasion of the prestigious Prize of the Nationalgalerie 2015 at Hamburger Bahnhof in Berlin.

His exhibition at MMK Museum für Moderne Kunst in Frankfurt presents seventeen works for one of which Florian Hecker worked with Kvadrat Soft Cells. The acoustic panels allow a play on sound but also complement the visually very minimal and in architectural terms extremely precise composition.

Florian Hecker’s installations, performances and publications revolve around the subjective dimension of sound. The focus of Hecker’s conceived acoustic environments is the process of hearing itself, with its physiological and psychological properties. His work challenges expectations and habits of perception in the context of the reception of contemporary art. With his constellation of arti cial sound objects, Hecker builds upon the conventions of compositional development of post-war modernism, electro-acoustic music and conceptual art all at the same time.

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