Matthijs Walhout

Amsterdam, NL

selection of works

get in touch;
+31 (0)6 521 216 83

studio address;
Broedplaats LELY
Schipluidenlaan 12 F
1062 HE Amsterdam NL

all images, text, and video on this site © Matthijs Walhout 2018
kvk number: 59638125
(for design work head here)

Cupio dissolvi (Rapture)

2017, installation (printed matter*, A3-sheet of pink paper, pencil, white fabric (approx. 80x55cm folded), 3 glass bowls, 7 glass carafes, water, and crystals: polished agate-amethyst, rough white moonstone, rough white selenite, tumbled rainbow moonstone, rough rose quartz, partly polished rock crystal, carved/polished rock crystal, tumbled sodalite and rough peach selenite) and lip-sync performance (to Antony and the Johnsons, ‘Rapture’, 2000)

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* Bibliography:
- Gray, Kyle (2014). Angel prayers. Oracle cards. London: Hay House. ‘Transformation. Archangel Zadkiel’, ‘Clear your vibes. Archangel Metatron’, and stack of 42 closed cards. Illustrations: Jason Mccreadie
- Freke, Timothy & Gandy, Peter (2007). Jezus en de verloren godin. De geheime leringen van de oorspronkelijke christenen. Trans. F. van Graften. Nieuwerkerk aan de IJssel: Milinda. p.235
- De Ruyter-Bouland, Denise (ed.) (1979). Liefde en sexualiteit. Rotterdam: Lekturama. pp.209-210. Illustration: Patricia Ludlow
- Van Gennep, Arnold (1960 [1909]). The rites of passage. Trans. Monika B. Vizedom and Gabrielle L. Caffee. Chicago: University of Chicago Press. pp.112-113 (original and A4 photocopy)
- Clare, Anthony (2002). De overbodige man. Mannelijkheid in crisis. Trans. Ria Loohuizen. Amsterdam: Werelbibliotheek. Front cover. Design: Volken Beck
- Weinreb, Friedrich (1974). Ik die verborgen ben. Wassenaar: Servire. Front cover. Illustration based on a design of Uriel Birnbaum
- Chomsky, Noam (1979). Language and responsibility. Trans. John Viertel. Sussex: Harvester Press. p.i
- Watts, Alan (1968 [1953]). Myth and ritual in Christianity. Boston: Beacon Press. pp.108-109
- Buber, Martin (1966 [1954]). Godsverduistering. Trans. K.H. Kroon. Utrecht: Bijleveld. Front cover. Design: Tom Raateland
- Connor, Randy P. (1993). Blossom of bone. Reclaiming the connections between homoeroticism and the sacred. New York: HarperCollins. pp.262-263. Photo of the Sisters of Perpetual Indulgence: Jean-Baptiste Carhaix
- Galland, China (1990). Longing for darkness. Tara and the Black Madonna. A ten-year journey. New York: Penguin Books. Front endpaper and dust-jacket flap
- Eckhart, Meister (2001). Over God wil ik zwijgen. 2: Preken. Trans. C.O. Jellema. Groningen: Historische Uitgeverij. Back cover, dust jacket. Design: Felix Janssens, image: Bruce Nauman (1967)
- Collin, Rodney (1979). Eeuwig leven. Trans. A.P. Meijer-Gerhard. Wassenaar: Mirananda. Front cover. Illustrator uncredited
- Roscoe, Will (1995). Queer spirits. A gay men’s myth book. Boston: Beacon Press. Front cover. Design: Chip Kidd, image: Jerry N. Uelsmann
- (1993). The holy Bible. King James version. Iowa Falls: World Bible Publishers. Front cover
- Leyland, Winston (ed.) (1983). My deep dark pain is love. A collection of Latin American gay fiction. San Fransisco: Gay Sunshine Press. Back cover

Cupio dissolvi (Rapture) Cupio dissolvi (Rapture) Cupio dissolvi (Rapture) Cupio dissolvi (Rapture)
Documentation of the performance.
The installation 'Cupio dissolvi (Rapture)' fills the room it is located in (shown here installed in the show 'I unloose, dissolve, destroy' at at7 project space in Amsterdam) in several 'stations'. In each of these, references from several sources are played out together in the form of found objects, printed matter, oracles, and performance. The installation consists of a number of books, a deck of oracle cards, fabric, paper, glass bowls, crystals, and a pencil. During a performance at the opening of the show, the bowls, containing books, crystals, and/or a pencil, are filled with water, after which follows a lip sync to Antony and the Johnsons, 'Rapture'. The contents of the bowls remain in water for the remainder of the exhibition, in a transitory state. The material effects of the water on the materials in it are not altered or curated throughout the time of the exhibition.

The piece is inspired by liminal spaces in ritual settings and an interest in the unloosing of text and identity. Symbolics from different christianities and other traditions are employed alongside each other to create meaning, subject, or place for reflection. Alongside the piece, the text 'All these dwellings are temporary' was presented as a pamphlet that could be taken from the space. This text reflects more or less theologically on some of the references born from the same research.

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Views from above on the separate stations, moving from the left to right side of the room.