Anselm Stalder

Kunsthaus Zurich

Anselm Stalder puts signs in motion. For this exhibition he built three identical electronic “writing machines,” Talking bells, 1992; each key on the keyboards of these machines plays a specific note. Thus musical (esthetic) structure and form follow the letters and punctuation marks as the artist types: graphemes become music. This process of reproduction transforms words into an event, musical movements become visual and semantic matter. The Talking bells preserve the immaterial in a rudimentary, transparent construction.

Complex practices of shock and filtering permeate Stalder’s work, above all in his painting, the composition of which is broken again and again by photographs and projections. The 100 paintings of hands look like stills from an unending film. A new, 13-part work cannot be remade: leftover oil paints that seem to have been spread on a piece of paper offer the starting

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