Gunther Kleinert
Gunther Kleinert works at the intersection of generative art, sound visualization, and post-digital aesthetics. Based in Hamburg, the designer and artist draws on his background in industrial design, interior architecture, and product design to develop conceptually rigorous, interdisciplinary projects in which code, algorithms, and sound function as central artistic media.
At the core of his practice is the translation of invisible processes into visual compositions. In series such as I Can See Music and The Sound of, Kleinert interprets music, speech, environmental noise, and data. With the sensibility of a musician, he deconstructs compositions, extracts physical sound parameters, and transforms them into a distinct graphic and geometric language. Ephemeral acoustic events become complex drawings in which system and intuition, structure and chance, digital precision and emotional depth converge.
Alongside sound-based works, Kleinert also creates purely algorithmic generative drawings. He regards code not merely as a tool, but as an autonomous aesthetic medium. Using a pen plotter from the mid-1980s, he translates digital data onto paper. The machine becomes a bridge between digital information and physical artifact—creating a deliberate tension between technological precision and analog unpredictability.
Driven by curiosity about the unseen, Kleinert explores hidden patterns, rhythms, and structures. Questions such as “What does a data structure sound like?” or “What does sound look like?” propel his work and lend each line a palpable, multilayered depth. Increasingly, he expands his practice through augmented reality and three-dimensional applications, integrating spatial dimensions into his immersive compositions.
Gunther Kleinert is particularly known for his artistic engagement with the work of Emmy Award–winning American composer and sound designer Benjamin Wynn (Deru). He has also realized projects in the context of the German loop-jazz duo Olicía (nominated for the German Jazz Prize in 2022). His works make the linear act of listening visible—opening new perspectives on the aesthetic structure of music, sound, and data.
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