Florian Hecker

PublisherdOCUMENTA (13)2012
There is no such thing as voice in literature. That is, we assign chimerical properties to characters’ voices; fictions based on voices we have heard in relation to the description of the characters’ personalities; identities we want to confer on the characters. Whilst we read and listen to this voice, it is neither true nor false. It is the product of a careful assembly of traces and features we believe represent a person – more physically even than their own body….

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PublisherEditions Mego2009
Low art/high art — the culture world will have a hard time shaking off that distinction. Hecker’s artistic process on this album could be tracked down to it, too (or at least that’s what he wants us to believe): acid house on the one hand, modern composition on the other. However, his music has been working on that both-sides-of-the-fence mode from the beginning, as he has been using the raw power of electronic music in increasingly circumvoluted processes and formulas. Acid in the Style of David Tudor may be marginally easier to listen to than Sun Pandämonium or PV Trecks, ...

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PublisherMego2014
Articulação sees avant-garde electronic musician Florian Hecker continuing the collaborative work he began with author/philosopher Reza Negarestani on the 2012 album Chimerization. The album’s three lengthy pieces see different manipulations and the electronic processing of human voices reading texts by Negarestani that explore themes of nature and the culture man creates around it, interrupted and often side-lined by Hecker’s blasts of digital noise and skittering, computer-generated mayhem. Opening track “Hinge” features two stereo-panned readings by noted poet and sound artist Joan La Barbara, known for her groundbreaking work with the human voice as instrument. A second, much noisier track breaks ...

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PublisherEBM(T)2015
On February 26, 2015, Robin Mackay travelled to Graz, to speak at the show-johnmccracken/text/) at Künstlerhaus Halle für Kunst & Medien. In the talk Mackay attempted to draw some brief comparisons between the sound work of Hecker and the analyses of colour proposed by Éric Alliez in his book on modern painting, The Brain-Eye, which he had spent the previous year translating. Apart from extensive works on the rail line which made travel both ways extremely taxing, the most notable thing about the episode was the impressive cathedral-like echo in the grand hall of the Künstlerhaus. Hecker requested a recording ...

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PublisherPAN2015
In 2010, acclaimed German sound experimentalist Florian Hecker and multidisciplinary artist Mark Leckey came together for the first time. Their combined Hecker Leckey Sound Voice Chimera—a mutant configuration of two geneti- cally discrete solo works—was originally presented as part of a two-day performance event at the Tate Modern called Push and Pull, and arrives as PAN’s inaugural offering of 2015. Both artists, as the art historian Alex Kitnick notes in his text accompanying the release, have a demonstrated interest in sound and its material effects; Hecker’s acute, algorithmic computer music is noted for impacting the very molecular infrastructure of its ...

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PublisherMego2006
IT is ostensibly “electronic” music that tests the limits of sound, hearing and the average home stereo system, laying out deep bass rumbles and crackles that gradually rise through the listener’s perception, then recede to unusual frequency levels that could almost damage speakers. It’s a completely abstract approach to music, as the main focus is the creation of new sound, and not the formation of these sounds into a coherent “composition” — this, of course, makes the album appealing mainly on conceptual, scientific and auditory levels, not standard emotional ones. In addition to four normally placed tracks in this vein, ...

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PublisherRadio Web Macba2014
In this second episode, Florian Hecker discusses the idea of sounds as objects and the notion of decomposition in his recent chimerical pieces, and Erick Beltrán addresses different aspects of epistemology, the self and identity that have been part of his artistic practice.

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PublisherMego2006
Deluxe vinyl issue of one of the most important albums of modern music and quite simply some of the finest computer audio excursions unleashed in recent years. Sun Pandämonium is the third full- length album from Florian Hecker, originally released in CD format on Mego in 2003. Sun Pandämonium also received the Award of Distinction Digital Music at the Prix Ars Electronica – the “International Competition for CyberArts” – the same year. Striking the listener from many angles with a diverse range of fiercely dynamic electronic scenarios, Hecker utilizes the computer to materialize new compositional strategies, leaving behind standard musical structures ...

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PublisherKunsthalle Wien2015
The exhibition The Future of Memory is accompanied by an e-book, available as a free download here. The publication introduces essays by Clint Burnham, Michael Connor, and Nicolaus Schafhausen, alongside a detailed presentation of the works exhibited in the show, written by co-authors Marie Egger, Emilie Lauriola and Vanessa Joan Müller. Digital communication and virtual interlacing shape our world today and influence our collective memory. Remembering the past, experiencing the present and imagining the future all meld to become part of a seemingly equivalent imagery in digital space. The Future of Memory critically challenges constructions of reality and investigates the conditions ...

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PublisherUrbanomic2010
This conversation took place during the development of Florian Hecker’s piece Speculative Solution, an Urbanomic commission that explored Quentin Meillassoux’s concept of ‘Hyperchaos.’

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PublisherUrbanomic2009
In this discussion from the 2009 Urbanomic event Sound Out of Line, Florian Hecker discusses the evolution of his work, sound synthesis, and the nature of collaboration

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