Freek Wambacq at Objectif

November 13th, 2013


Opening door, closing door (in the desert) Plantentuin, Leopoldstraat 24, 2000 Antwerp (door handles)

Artist: Freek Wambacq

Venue: Objectif, Antwerp

Exhibition Title: Rain After Snow

Date: September 14 – October 26, 2013

Click here to view slideshow

Rain after snow Objectif Exhibitions, Kleine Markt 7-9/26, 2000 Antwerp (salt, cornstarch)

Spontaneous glass breakage Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp (bar chimes, whiskey bottles)

Sudden gusts of wind Basic-Fit, Oudaan 15, 2000 Antwerp (nylon cloth, bicycle)

Full gallery of images, press release and link available after the jump.

Images:

Images courtesy of Objectif, Antwerp. Photos by Isabelle Arthuis.

Press Release:

Sound is a reflective medium. It requires space. And sound, once sited in space, gains resonance, disseminates, and creates context. It’s a trail to follow.

Starting from the ground floor at Objectif Exhibitions, Freek Wambacq’s solo exhibition Rain after snow will echo throughout Antwerp through subtle interventions within more than a dozen different locations. A “landslide” at the National Bank, “gunfire” at the library, “rustling leaves” at the hearing aid shop—Wambacq installs sounds in charged sites, yet in an understated way. The sounds, however, are only implied.

For Rain after snow, Wambacq departs from his well-known series of tabletop still lives, which comprise common household objects selected for their uncommon usage in the production of cinematic sound effects. Within a controlled “Foley” studio environment, a stack of gloves becomes a flock of birds; a battery-powered sex toy becomes an earthquake; soggy antelope skins become oily brushstrokes; or a stalk of celery becomes a cracking human femur. Yet by arranging these objects into suggestive configurations, Wambacq focuses primarily on their sonic potential, rather than their visual allure, as well as on their relative linguistic capacities—alliteration, onomatopoeia, puns and, in particular, their narrative potential.

Here, there, and there, Wambacq pushes them off the table and onto a map, which can be followed through an archipelago of generative contextual pairings. When rain follows snow, it can be a slippery affair, but these slippages in meaning—and attention—are where a walk becomes something far more ambulatory than locomotion.

Link: Freek Wambacq at Objectif

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