Freek Wambacq at Objectif
Artist: Freek Wambacq
Venue: Objectif, Antwerp
Exhibition Title: Rain After Snow
Date: September 14 – October 26, 2013
Full gallery of images, press release and link available after the jump.
Images:
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Roaring fire (hot air)
Kapsalon Duden, Kloosterstraat 82, 2000 Antwerp
(cellophane foil)
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Roaring fire (hot air)
Kapsalon Duden, Kloosterstraat 82, 2000 Antwerp
(cellophane foil)
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Roaring fire (hot air)
Kapsalon Duden, Kloosterstraat 82, 2000 Antwerp
(cellophane foil)
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Spontaneous glass breakage
Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp
(bar chimes, whiskey bottles)
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Spontaneous glass breakage
Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp
(bar chimes, whiskey bottles)
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Spontaneous glass breakage
Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp
(bar chimes, whiskey bottles)
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Spontaneous glass breakage
Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp
(bar chimes, whiskey bottles)
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Spontaneous glass breakage
Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp
(bar chimes, whiskey bottles)
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Spontaneous glass breakage
Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp
(bar chimes, whiskey bottles)
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Spontaneous glass breakage
Thissen Biljards, Van Wesenbekestraat 51-55, 2060 Antwerp
(bar chimes, whiskey bottles)
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Cracking chicken bones
De Blauwe Hond, Scheldestraat 31-33, 2000 Antwerp
(celery)
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Cracking chicken bones
De Blauwe Hond, Scheldestraat 31-33, 2000 Antwerp
(celery)
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Cracking chicken bones
De Blauwe Hond, Scheldestraat 31-33, 2000 Antwerp
(celery)
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Cracking chicken bones
De Blauwe Hond, Scheldestraat 31-33, 2000 Antwerp
(celery)
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Opening door, closing door (in the desert)
Plantentuin, Leopoldstraat 24, 2000 Antwerp
(door handles)
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Opening door, closing door (in the desert)
Plantentuin, Leopoldstraat 24, 2000 Antwerp
(door handles)
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Opening door, closing door (in the desert)
Plantentuin, Leopoldstraat 24, 2000 Antwerp
(door handles)
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Opening door, closing door (in the desert)
Plantentuin, Leopoldstraat 24, 2000 Antwerp
(door handles)
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Opening door, closing door (in the desert)
Plantentuin, Leopoldstraat 24, 2000 Antwerp
(door handles)
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Opening door, closing door (in the desert)
Plantentuin, Leopoldstraat 24, 2000 Antwerp
(door handles)
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Sudden gusts of wind
Basic-Fit, Oudaan 15, 2000 Antwerp
(nylon cloth, bicycle)
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Sudden gusts of wind
Basic-Fit, Oudaan 15, 2000 Antwerp
(nylon cloth, bicycle)
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Sudden gusts of wind
Basic-Fit, Oudaan 15, 2000 Antwerp
(nylon cloth, bicycle)
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Sudden gusts of wind
Basic-Fit, Oudaan 15, 2000 Antwerp
(nylon cloth, bicycle)
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Cuckoos and warblers
H. Goedleven Klokkenmaker, Wolstraat 28, 2000 Antwerp
(leather gloves, dusters)
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Cuckoos and warblers
H. Goedleven Klokkenmaker, Wolstraat 28, 2000 Antwerp
(leather gloves, dusters)
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Cuckoos and warblers
H. Goedleven Klokkenmaker, Wolstraat 28, 2000 Antwerp
(leather gloves, dusters)
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Landslide
Nationale Bank van Belgie, Leopoldplaats 8, 2000 Antwerp
(electric toothbrush)
closed to the public
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Rustling leaves
Lapperre Hoorcentrum, Mechelsesteenweg 25, 2018 Antwerp
(audio tapes)
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Rustling leaves
Lapperre Hoorcentrum, Mechelsesteenweg 25, 2018 Antwerp
(audio tapes)
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Rustling leaves
Lapperre Hoorcentrum, Mechelsesteenweg 25, 2018 Antwerp
(audio tapes)
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Rustling leaves
Lapperre Hoorcentrum, Mechelsesteenweg 25, 2018 Antwerp
(audio tapes)
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Rustling leaves
Lapperre Hoorcentrum, Mechelsesteenweg 25, 2018 Antwerp
(audio tapes)
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Painting oil portraits
De Groene Oase, Everdijstraat 23, 2000 Antwerp
(chamois leather)
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Painting oil portraits
De Groene Oase, Everdijstraat 23, 2000 Antwerp
(chamois leather)
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Painting oil portraits
De Groene Oase, Everdijstraat 23, 2000 Antwerp
(chamois leather)
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Herd of horses
Kulminator, Velminckveld 32, 2000 Antwerp
(halved coconut shells)
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Herd of horses
Kulminator, Velminckveld 32, 2000 Antwerp
(halved coconut shells)
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Herd of horses
Kulminator, Velminckveld 32, 2000 Antwerp
(halved coconut shells)
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Sporadic gunfire
Openbare bibliotheek Sint-Andries, Sint-Andriesplaats 22, 2000 Antwerp
(clipboards)
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Sporadic gunfire
Openbare bibliotheek Sint-Andries, Sint-Andriesplaats 22, 2000 Antwerp
(clipboards)
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Sporadic gunfire
Openbare bibliotheek Sint-Andries, Sint-Andriesplaats 22, 2000 Antwerp
(clipboards)
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Sporadic gunfire
Openbare bibliotheek Sint-Andries, Sint-Andriesplaats 22, 2000 Antwerp
(clipboards)
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Hitting, knocking, slapping, punching
Beenhouwerij Van Dun, Nationalestraat 101, 2000 Antwerp
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Hitting, knocking, slapping, punching
Beenhouwerij Van Dun, Nationalestraat 101, 2000 Antwerp
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Hitting, knocking, slapping, punching
Beenhouwerij Van Dun, Nationalestraat 101, 2000 Antwerp
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Sheet lightning and rumbling thunder
Kledingatelier, Nationalestraat 138/11, 2000 Antwerp
(sheet of stainless steel)
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Sheet lightning and rumbling thunder
Kledingatelier, Nationalestraat 138/11, 2000 Antwerp
(sheet of stainless steel)
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Sheet lightning and rumbling thunder
Kledingatelier, Nationalestraat 138/11, 2000 Antwerp
(sheet of stainless steel)
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Sheet lightning and rumbling thunder
Kledingatelier, Nationalestraat 138/11, 2000 Antwerp
(sheet of stainless steel)
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.