True place, 2019
Solo exhibition, CCA Prague, curated by Edith Jerábková

Mission place, 2019 (video extract)

“The pneumatic sound of a machine sounds like gunfire, a highway and silence. A melody enters the trickle of running water for a moment. Pressurised water spray and a highly modified aggressive technical sound resemble shooting. Bells in the distance and the sound of a bird, a loud hum and a deafening bell, a physical experience as though we were standing in the bell tower itself. Field recordings, sound detectors, ASMR, electronic experiments and similar trends in contemporary music demonstrate its interest in the search for sounds that would point to our relationship with reality, and that reality is a place from which we may once again proceed and draw down, above all for affective experience. In his videos Walwin treats sound similarly to image – but this does not mean illustratively. Sound is not always a field or audio recording and the same is true of the image. Walwin has no interest in some kind of edgy originality. Individual sounds wax and wane, appear and are lost, interrupt and materialise, intertwine and are sustained according to what the audiovisual composition needs to retain its “force field”.

Although the objects captured in the images and sounds possess their own qualities, it is primarily the film, object and somatic quality that maintains our interest with its compositional ingenuity, technological care and emotional range of videos and generic and precisely organised sculptural structures. Tension accumulates not only by means of the randomly moving sound, but also the intoxicated movement of the camera, and these jointly generate a dual sense of unease, alerting us to the uncertain atmosphere of the environment that we are observing from without and experiencing from within. In places it comes close to a hypnotic synergy. The image oscillates between viewer and artist, as though for a brief instant it ceases to be indexical. A viewer used to reading something in galleries is forced to think of the artist and asks him, at least in imagination, why and how. The viewer awaits an explanation in the image that never arrives, and yet she continues to wait, because the overall composition keeps her on standby.”

Extract from Field Recordings - Sounds of Crisis, Edith Jerábková, 2020

Produced with generous support of CCA Prague

Photographs by Filip Beránek
Graphic design by Filip Kraus