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):
- Snejanka Mihaylova, 'Practical Training in Thinking' (2013), back cover;
- Rijksmuseum Amsterdam, 'Middeleeuwse kunst der Noordelijke Nederlanden' (1958), marbled cover (possibly made by previous owner);
- Prana magazine, #61, 'Gnosis' (1990), page 27 (artist/title of illustration unknown);
- Rodney Collin, 'Eeuwig Leven' (1979) (trans. A.P. Meijer-Gerhard, original title 'The Theory of eternal life'), front cover, illustration titled 'Madonna met de cirkels' (artist unknown);
- Laure van den Hout, 'Voor en na de leegte' (2011), front cover (photocopied);
- Watch Tower and Tract Society of Pennsylvania / Jehovah's Witnesses, 'Wat Leert de Bijbel Echt?' (2005, original title 'What Does the Bible Really Teach?'), back cover;
- Friedrich Nietzsche, 'Thus Spoke Zarathustra' (2012), front cover of dust jacket (Barnes & Noble Signature Editions version, artist: Kevin Tong);
- Alan Watts, 'Myth and Ritual in Christianity' (1968), p.108/109;
- China Galland, 'Longing For Darkness, Tara and the Black Madonna, A Ten-Year Journey' (1990), front endpaper;
- Wim Zaal, 'Gods Onkruid, Nederlandse sekten en messiassen' (1972), 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.