“True boogie-woogie I conceive as homogeneous in intention with mine in painting: destruction of melody which is the equivalent of destruction of natural appearance; and construction through the continuous opposition of pure means—dynamic rhythm.” Piet Mondrian’s statement on his late Boogie-Woogie-paintings identifies an aspect that is also central to the work of Gregor Hildebrandt: the destruction of given melodies and musical themes, in a broader sense, as the destruction of the concept of the ‘closed composition’ of the artwork in favor of an ‘open composition’ with opposing points of connection. His material—VHS and cassette tapes, records and the like—samples the individual aesthetic preferences of the artist, the zeitgeist and the auditory and visual associations of the viewer. Visual scores, based on recorded music, draw free rhythms from the seamless or open constructive addition of the shiny black music tapes. We see the abstract beat in the work and at the same time, in our imagination, hear the music, whose titles we see quoted in the labels accompanying the images, or that we might easily recall. In a new group of works from 2017 to 2019, Gregor Hildebrandt dedicated some of his image-objects to the great role models of the twentieth century in the context of sound, image and rhythm: Piet Mondrian, Anni and Josef Albers, François Morellet and others. Hildebrandt replaces the black right-angled lines of Mondrian’s paintings with audio cassette tape, which, in the case of the work in the Daimler Art Collection, corresponds to a recording of the song by Paolo Conte from 1981, Non perderti per niente al mondo. Thus, Hildebrandt guides the viewer’s imagination towards the world of Italian popular songs of the 1980s. At the same time, the advice inherent in the title, which translates as “Don’t miss out on anything in the world,” opens up new dimensions of experience. “I am giving a voice to Mondrian because his paintings are all recorded with something, even if it’s just emptiness,” Hildebrandt comments.