Matthias Hesselbacher


Extented until Saturday 12 November 2016.






Glitches sind Fehler, die in elektronischen Schaltungen auftreten, weil keine vollkommene Gleichzeitigkeit im Lauf der Signale durch die Verbindungsleitungen und die Gatter der Schaltung erreicht werden kann. Ein Gatter, oder Logikgatter, verwandelt mehrere Eingangssignale (0 oder 1) mittels logischer Operatoren wie Und, Oder, Nicht, zu einem Ausgangssignal. Wenn verschiedene Eingangssignale unter bestimmten Bedingungen ein Ausgangssignal ergeben sollen, können die unterschiedlichen Vorgänge dann kurzzeitig eine Falschaussage ergeben, wenn die Voraussetzung der Gleichzeitigkeit der Impulse nicht erfüllt ist, weil zum Beispiel ein Nicht- Glied eine Information langsamer tauscht als das entsprechende Und-Glied, sodass ein beiden nachgeordnetes Oder-Glied zu einem falschen Schluss kommt und eine Fehlinformation weiterleitet.

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Matthias Hesselbacher, carrying on his experiments related to printing technics, questions the notion of print, trace left by the body, signs of our physical being. After a series of prints that also could be torn up to served as raw material for collages, it’s the canvas today that the artist handles with the press. “Glitches” is symbolically opening the doors of his studio and shows an installation of his latest works in connection with the sound of their fabrication:


“You follow the production by hearing it backwards: The sound you perceive comes out of the amplifier, fed by the needle following the grooves. It records the continuous ups and downs that have been cut into the vinyl. You are standing in the exhibition space, ready. What happened before: the sound studio, where according the information of a digital file, the diamond cuts the waves into the blank. Previously the digital file was sent to the studio: The artist is sitting at his computer, waves are visible on the screen, through his headphone the artist is hearing acoustic waves, he has quadrupled a digital sound, the DAW may choose the length of each segment, it may choose the position within this section and the direction of reading. This on four tracks, wherein any change can occur after minimum one clock. What happened before? The convertor has taken a sound from the amplifier, this was transferred by the turntable. You are approaching the turntable. The needle jumps and scratches on the turntable, there is a scrap on it, a piece of woodchip paper, compressed and folded by a printing press. Before that, at the origin, you see the artist in his studio, he wraps himself with woodchip paper, he shapes it and rips a corresponding piece of the roll. He puts the piece of wallpaper on the printing press and rolls it flat, you now looking at the whole process again, forwards. The piece of wallpaper as medium of the artist’s body, flatted, became the analog sound carrier on the turntable. You are seing how the turntable turns, how the needle jumps. The sound gets digitized, “glitched”, programmed.”
(in. Falschgeld by Fabian Ginsberg, an essay about Matthias Hesselbacher)