This publication accompanies the exhibition Cevdet Erek. Sound Ornamentation 2010–2025 at the Vienna Secession and presents a comprehensive overview of the artist’s long-term engagement

with sound as a spatial and architectural medium. Bringing together projects developed over a fifteen-year period, the book situates Erek’s practice within a sustained investigation of rhythm, measurement, and acoustic structure as operative elements of exhibition-making.

Rather than treating sound as an atmospheric supplement, the publication foregrounds its capacity to articulate space and to organize bodily movement and perception. Through photographic documentation, diagrams, and project-based materials, the book traces how sound functions as an ordering principle that unfolds in relation to specific architectural contexts. Particular attention is given to the continuity and transformation of the concept of “sound ornamentation” across different sites and temporal settings.

An essay by Ramona Heinlein, published in German and English, provides a critical contextualization of Erek’s work, addressing its methodological foundations and its position within contemporary artistic discourse. The publication is further expanded by an inserted A3 poster, conceived as an artistic contribution in its own right, which translates a façade-related sound project into a graphic and reproducible format.

Conceived as more than a documentary catalogue, the book operates as an extension of the exhibition, reflecting on the conditions under which sound, space, and notation intersect. It contributes to current discussions on installation-based practices and the role of sensory systems in contemporary art, while offering a structured and material record of Erek’s ongoing research.