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Soundings: A Contemporary Score
August 10–November 3, 2013

MoMA's first major exhibition of sound art presents work by 16 of the most innovative contemporary artists working with sound. While these artists approach sound from a variety of disciplinary angles—the visual arts, architecture, performance, computer programming, and music—they share an interest in working with, rather than against or independent of, material realities and environments. These artistic responses range from architectural interventions, to visualizations of otherwise inaudible sound, to an exploration of how sound ricochets within a gallery, to a range of field recordings—including echolocating bats, abandoned buildings in Chernobyl, 59 bells in New York City, and a sugar factory in Taiwan.

The diversity of these works reflects a complex and nuanced field. Yet the exhibition posits something specific: that how we listen determines what we hear. Indeed, the works provoke and evoke—both in the maker and the museumgoer—modes of active listening, and a heightened relationship between interior and exterior space. At a time when personal listening devices and tailored playlists have become ubiquitous, shared aural spaces are increasingly rare. Many of the artists in the exhibition aim for such realities, and the sound they create is decidedly social, immersing visitors and connecting them in space. In many of the works, links are drawn between disparate topographies and subjects, giving rise to new understanding and experiences.

The artists in the exhibition are Luke Fowler (Scottish, b. 1978), Toshiya Tsunoda (Japanese, b. 1964), Marco Fusinato (Australian, b. 1964), Richard Garet (Uruguayan, b. 1972), Florian Hecker (German, b. 1975), Christine Sun Kim (American, b. 1980), Jacob Kirkegaard (Danish, b. 1975), Haroon Mirza (British, b. 1977), Carsten Nicolai (German, b. 1965), Camille Norment (American, b. 1970), Tristan Perich (American, b. 1982), Susan Philipsz (Scottish, b. 1965), Sergei Tcherepnin (American, b. 1981), Hong-Kai Wang (Taiwanese, b. 1971), Jana Winderen (Norwegian, b. 1965), and Stephen Vitiello (American, b. 1964).


Florian Hecker

Florian Hecker. Hinge. 2012. Three-channel electroacoustic sound, loudspeaker system, 26:32 min. Processed installation photography. Installation view of Florian Hecker, Sadie Coles HQ, London, November 23, 2012–January 19, 2013. Courtesy the artist and Sadie Coles HQ

The subjective dimensions of sound underpin Hecker’s investigations. His installations shift and vary depending on the listener, both in terms of each individual’s physical location and his or her personal biases and points of reference. Hecker takes as a starting point the fact that listening is often driven by a desire for understanding—it is an attempt to make associations, to recognize sounds as familiar, to slot what we hear into known categories. In Affordance, the variations between the three channels of the work protract and complicate this listening experience. Hecker has composed a three-channel piece in part to interrupt what he has called "bifurcated listening." With a two-channel work, a viewer would be able to stand centrally and listen to the entire piece at once; with three speakers, movement and memory are necessary for understanding the piece as a whole.


Florian Hecker. Chimerization. 2012. Two-channel electroacoustic sound, 33:23 min. Courtesy the artist, Sadie Coles HQ, London; Galerie Neu, Berlin Commissioned and produced by dOCUMENTA (13) with the support of Sadie Coles HQ, London; Galerie Neu, Berlin; Massachusetts Institute of Technology, Cambridge, MA