Florian Hecker
14 Oct - 22 Nov 2008
FLORIAN HECKER
For Florian Hecker’s first show at Sadie Coles HQ he presents Pentaphonic Dark Energy. Superimposed onto the existing gallery structure, Pentaphonic Dark Energy creates an environment in which body and architecture intersect. Across five loudspeakers sonic sequences combine to create the impression that space is being sculpted. As the piece develops, it builds into a series of opposites and contradictions: stable and uneven, fast and slow, loud and quiet. The title of the piece comes from physical cosmology in which 'dark energy' is a hypothetical form of energy that is found in space and responsible for the expansion of the universe. Pentaphonic, directly references its form. Also in the show is another abstract sound piece made of short cycles interspersed with perceived silences, contrasting with Pentaphonic Dark Energy’s almost narrative flow. Using super directional speakers the sound is superlatively focused. Elsewhere on the floor, in stark contrast to the two other sound pieces, sits a monochromatic cube made out of a coarse, cyan foam that is more usually used as part of a microphone, a device for absorbing the sound of wind, but also suggestive of a minimalist sculpture and Hecker's rigorous engagement with Conceptual practices of the 1970s.
For Florian Hecker’s first show at Sadie Coles HQ he presents Pentaphonic Dark Energy. Superimposed onto the existing gallery structure, Pentaphonic Dark Energy creates an environment in which body and architecture intersect. Across five loudspeakers sonic sequences combine to create the impression that space is being sculpted. As the piece develops, it builds into a series of opposites and contradictions: stable and uneven, fast and slow, loud and quiet. The title of the piece comes from physical cosmology in which 'dark energy' is a hypothetical form of energy that is found in space and responsible for the expansion of the universe. Pentaphonic, directly references its form. Also in the show is another abstract sound piece made of short cycles interspersed with perceived silences, contrasting with Pentaphonic Dark Energy’s almost narrative flow. Using super directional speakers the sound is superlatively focused. Elsewhere on the floor, in stark contrast to the two other sound pieces, sits a monochromatic cube made out of a coarse, cyan foam that is more usually used as part of a microphone, a device for absorbing the sound of wind, but also suggestive of a minimalist sculpture and Hecker's rigorous engagement with Conceptual practices of the 1970s.