MATTHIJS WALHOUT
«How I wish to move the words away from words, away from their everything.»

Matthijs Walhout


Amsterdam, NL


get in touch;
hello@matthijswalhout.com
+31 (0)6 521 216 83

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


all images, text, and video on this site © Matthijs Walhout 2016

kvk number: 59638125

(Preparing) A Place for Teary-Eyed Reading

2015, installation (stage elements, white fabric, glass bowls, water, deck of 54 cards + extra joker, A4 photocopy, notebook, pen and printed matter*) and silent performance

(Preparing) A Place for Teary-Eyed Reading
Installation view, 2015
Photo by Stefan Bandalac
(Preparing) A Place for Teary-Eyed Reading
Performance, Preparing A Place..., 2015
Photo by Mamoru Okuno
(Preparing) A Place for Teary-Eyed Reading
Performance, Preparing A Place..., 2015
Photo by Mamoru Okuno
(Preparing) A Place for Teary-Eyed Reading
Performance, Preparing A Place..., 2015
Photo by Mamoru Okuno
(Preparing) A Place for Teary-Eyed Reading
Performance, Preparing A Place..., 2015
Photo by Mamoru Okuno
(Preparing) A Place for Teary-Eyed Reading
Installation view
Photo by Stefan Bandalac
(Preparing) A Place for Teary-Eyed Reading
Performance, Preparing A Place..., 2015
Photo by Mamoru Okuno
(Preparing) A Place for Teary-Eyed Reading
Detail shot from installation, 2015
(Preparing) A Place for Teary-Eyed Reading
Detail shot from installation, 2015
(Preparing) A Place for Teary-Eyed Reading
Detail shot from installation, 2015
(Preparing) A Place for Teary-Eyed Reading
Detail shot from installation, 2015
(Preparing) A Place for Teary-Eyed Reading
Performance, Preparing A Place..., 2015
Photo by Mamoru Okuno
* Bibliography (top to bottom, left to right):
- Mihaylova, Snejanka (2012). Practical training in thinking. Surrey: The Last Books. Back cover
- Luttervelt, dr. R. van (red.) (1958). Middeleeuwse kunst der Noordelijke Nederlanden. Amsterdam: Rijksmuseum. Marbled cover (possibly made by previous owner)
- (1990). Prana magazine, (61, 'Gnosis'). p.27 (illustrator uncredited)
- Collin, Rodney (1979). Eeuwig leven. Trans. A.P. Meijer-Gerhard. Wassenaar: Mirananda. Front cover (illustrator uncredited)
- Hout, Laure van den (2011). Voor en na de leegte. Front cover (photocopied)
- Watchtturn Bibel- und Traktat-Gesellschaft der Zeugen Jehovas (2012 [2005]). Wat leert de bijbel echt?. Selters/Taunus: Wachtturn-Gesellschaft. Back cover
- Nietzsche, Friedrich (2012 [1909]). Thus spoke Zarathustra. Trans. Thomas Common. New York: Barnes & Noble (Signature Editions). Front cover, illustration: Kevin Tong
- Watts, Alan (1968 [1953]). Myth and ritual in Christianity. Boston: Beacon Press. pp.108-109
- 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
- Zaal, Wim (1972). God's onkruid. Nederlandse sekten en messiassen. Amsterdam: Meulenhoff. Front cover
The installation 'A Place for Teary-Eyed Reading' takes place on a square stage of 2 x 2 meters, which is covered by a white cloth, and filled with several different elements. They are a number of books, some writing materials, a deck of playing cards with an extra joker, and an A4 photocopy. 3 glass bowls are also situated on the stage, two containing a book and a playing card, and one, resting on a pile of playing cards, containing a pen. During a silent ceremonial performance, 'Preparing...' the bowls are filled to the rim with water, initiating the transitory state within the work, which will last until the end of the exhibition. The material effects of the water on the materials in it are not altered or curated throughout the time of the exhibition.

The piece springs from an interest in liminal spaces of becoming through ritual, and an investigation of the material effects of symbolics. Water, as a symbol of death and rebirth, serves in many rituals to designate a space of liminality, a transitory spacetime in which identity is altered or destabilized. In this piece the transition becomes purely material, submitting the codex to such a state of illegibility and pairing it with other elements in a ceremonial setting wherein meanings are 'read' through material and presence rather than through language or liturgy.