Installation view, Florian Hecker, Formulations / Formulação, Culturgest Porto, Portugal, 25 September - 19 December 2015 Courtesy the artist, Sadie Coles HQ, London and Galerie Neu, Berlin Photography: © 2015, DMF - Fotografia, Lisbon

Installation view, Florian Hecker, Formulations / Formulação, Culturgest Porto, Portugal, 25 September – 19 December 2015 Courtesy the artist, Sadie Coles HQ, London and Galerie Neu, Berlin Photography: © 2015, DMF – Fotografia, Lisbon

I miei lavori sono oggetti sonori, ‘installazioni’, vale a dire composizioni e, nella maggior parte dei casi, sono legati allo spazio anziché ad un luogo specifico. Questa biforcazione, che dà adito a interpretazioni teorico-artistiche e musicologiche, è in grado di situare e commentare a livello storico i diversi riferimenti ed elementi che concorrono simultaneamente in un’opera. Dall’altro lato però, ritengo che definizioni come installazioni sonore o sculture sonore non siano del tutto precise”.
La produzione musicale di Florian Hecker è difficilmente classificabile. L’artista stesso fugge da possibili categorizzazioni per non rischiare di far cadere la natura del proprio lavoro sotto un’unica etichetta e, soprattutto, per lasciare allo spettatore la possibilità di entrare in contatto con le composizioni nel modo più spontaneo possibile. Hecker è uno dei maggiori esponenti della computational music contemporanea, si occupa di suono sintetico, indagato attraverso diversi sistemi tra cui performance e installazioni, e a fianco della vasta produzione musicale studia gli sviluppi dell’attività compositiva contemporanea, audiologia e psicoacustica. Il suo lavoro si riallaccia alle sperimentazioni di Luigi Russolo, di Fluxus e John Cage, e le sue composizioni sono flussi di elementi eterogenei in cui non si fa distinzione tra suono e rumore. Ogni elemento è posto sullo stesso piano e concorre a sfidare lo spettatore, stimolandone le capacità percettive privandolo di punti di riferimento sonori riconoscibili.

In occasione di ART CITY Bologna 2019 e Arte Fieraxing presenta SynAsTex Korrektur, recente composizione dell’artista tedesco che verrà eseguita nell’atrio della Scuola di Ingegneria e Architettura dell’Università di Bologna. La nuova composizione a 9 canali è definita teatro della percezione: l’architettura dell’edificio e lo spazio diventeranno un tutt’uno con la musica elettronica di Hecker e porteranno lo spettatore ad essere protagonista di una esperienza sonora e spaziale dalle molteplici sfaccettature, legate alla capacità di sintesi uditiva di ognuno.
SynAsTex Korrektur approfondisce la precedente composizione Synopsis As Texture, commissionata nel 2018 dal SWR Expertimentalstudio Freiburg in occasione del festival Donaueschinger Musiktage 2018, che aveva come protagonista il Frei Systemtechnik Filterbank un digital vocoder appositamente ricostruito e basato sul prototipo sviluppato dall’Experimentalstudio tra il 1989 e il 1992. Cambiamento e riformulazione sono due importanti costanti nel lavoro di Florian Hecker: la sua vasta produzione musicale è composta da variabili pronte ad essere analizzate, manipolate o eliminate per studiare ancora più a fondo la natura e le possibilità del suono.
Parlando di SynAsTex Korrektur l’artista tedesco commenta “c’erano alcuni aspetti nella prima versione del pezzo che volevo indagare. Prima di tutto l’assenza dello storico Frei Systemtechnik Filterbank, un digital vocoder che è stato utilizzato nella fase iniziale della produzione della composizione […]. SynAsTex Korrektur è incentrato sul concetto di sintesi e risintesi del suono a partire dalle statistiche del tempo-frequenza che costituiscono il nucleo centrale dell’opera”.

FLORIAN HECKER  – SynAsTex Korrektur
giovedi 31 gennaio / venerdi 1 febbraio

Università degli Studi di Bologna
Scuola di Ingegneria e Architettura
Viale del Risorgimento 2 Bologna

Scuola di Ingegneria e Architettura Bologna-2160

Scuola di Ingegneria e Architettura Bologna-2160

Installation view, Florian Hecker, Preis der Nationalgalerie 2015, Hamburger Bahnhof - Museum für Gegenwart, Berlin, 11 September 2015 – 17 January 2016 Copyright the artist, courtesy Sadie Coles HQ, London

Installation view, Florian Hecker, Preis der Nationalgalerie 2015, Hamburger Bahnhof – Museum für Gegenwart, Berlin, 11 September 2015 – 17 January 2016 Copyright the artist, courtesy Sadie Coles HQ, London

ATPdiary ha posto alcune domande a Florian Hecker in merito al suo lavoro —

ATP: Your sound work has been described as “theatre of perception”, where the sound behaves as a sculpture that fills the environment and engages with the audience. What’s the role of context in designing a sound piece and how do you try to merge the structural elements of a space and the ones of sound?

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 simultaneously in a work. On the other hand, I consider concepts and definitions, such as sound installation or sound sculpture inappropriate and not particularly precise. There is a problem of using hybrid form all too readily to arrive at the same position: Luigi Russolo, Fluxus, John Cage, Jacques Attali. I mentioned this in an interview with Nicolaus Schafhausen some years ago and can second that it’s rarely the architectural/structural features of a site that come into play when working on a piece per se, the broader contextual situation of the occasion more so, but the works are their own thing – staging comes into play again when installing them and sonic matter also does react to the scale and properties of a site, so it’s tempting to come up with some speculation, just as hard it is to entirely separate these – after all, these are ‘dirty environments’, not laboratory settings.

ATP: Your recent work, SynAsTex Korrektur, will be soon presented by Xing for ARTE FIERA 2019 and it’s an in-depth take on Synopsis As Texture. How important is, in your production, to change and reformulate a sound piece? And what are you looking for when reevaluating a composition?

FH: There simply were some aspects, components in the first version of the piece I knew I wanted to address. Namely, the absence of the historical piece of equipment, the Frei Systemtechnik Filterbank, a digital vocoder that has been used in the first stage of the production of the piece, and which also was spotlight in Donaueschingen – in a somewhat traditional setting, seated audience, a scene on stage. SynAsTex Korrektur is all about the concepts of synthesis and resynthesis of sounds from time-frequency statistics which make the core of the piece – a long term exchange with Axel Röbel, Director of Research at IRCAM and with his colleagues in the Analysis-Synthesis team. There also were some loudness differences in one of the statistics categories of the resynthesized sounds I wanted to adjust, which initially required me to have the piece running at comparatively soft levels, lacking some of the intensities I am looking for.

Florian Hecker, Resynthese FAVN, 2017; installation view, Hallucination, Perspective, Synthesis, Kunsthalle Wien, Vienna, 17 November 2017 – 14 January 2018 Copyright the artist, courtesy Sadie Coles HQ, London Photo: Jorit Aust

Florian Hecker, Resynthese FAVN, 2017; installation view, Hallucination, Perspective, Synthesis, Kunsthalle Wien, Vienna, 17 November 2017 – 14 January 2018 Copyright the artist, courtesy Sadie Coles HQ, London Photo: Jorit Aust

ATP: Your sound work is a multi-layered stream of diverse elements that evolve in different stages, creating an ever-changing composition that engages the listener in many ways and stimulating his perception. Do you think that the listener should have recognizable reference points when listening to a composition or, having to deal with various elements, can raise a different approach to it?

FH: No.

ATP: Your work Chimerization is followed by a photographic documentation of pictures altered by a Sift Flow Algorithm which generates glitched-like and fluidified photos. Can you describe the relationship between them and the structure of the sound composition?

FH: I stuck to the chimerized images ever since working on Chimerization (MIT Project) at the Massachusetts Institute of Technology in 2011, to second that in the photos —installation or performance stills—something is going on which is not depictable as such, the lack of capturing a core of the work, was beneficial to deal with it as images.

ATP: In an interview with Robin Mackay for Urbanomic, you said that you want “to get rid of all of these things that constitute something like a classical tune—melody, pitch/note relations, etc.—and then see what’s left”. What’s the border between sound and noise? Can we just consider the sounds that we can produce, in every single form, just elements that can be used to build a composition instead of making such differentiation?

FH: The what’s left is the ‘L’Innommable’, that multidimensional space escaping categorisation and linguistic description sharing many familiarities with timbre, the whole complex that arose with the beginnings of psychophysics in the late-19th-century and the quantification of auditory sensation.

Installation view, Florian Hecker, Synopsis, Tramway, Glasgow, 26 May – 30 July 2017 Copyright the artist, courtesy Sadie Coles HQ, London Photo: Keith Hunter

Installation view, Florian Hecker, Synopsis, Tramway, Glasgow, 26 May – 30 July 2017 Copyright the artist, courtesy Sadie Coles HQ, London Photo: Keith Hunter

Installation view, Florian Hecker, Synopsis / Seriation, CU Art Museum, University of Colorado, Boulder (CO), USA, 06 September – 22 December 2018 Copyright the artist and CU Art Museum, University of Colorado Boulder, courtesy Sadie Coles HQ, London Photo: Jeff Wells

Installation view, Florian Hecker, Synopsis / Seriation, CU Art Museum, University of Colorado, Boulder (CO), USA, 06 September – 22 December 2018 Copyright the artist and CU Art Museum, University of Colorado Boulder, courtesy Sadie Coles HQ, London Photo: Jeff Wells