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