Waltz of the Matinées — Galerie Fons Welters

‘Several concrete blocks are spread out on the gallery’s floor, connected by thin copper threads forming a fragile web. At first sight they appear as a minimalistic sculptural display. Upon closer inspection, the concrete reveals imprints of bodily fragments: knees pressed into the cast; feet in an entangled movement or placed straight. Though the body itself is absent, it seems only a matter of time before it enters this display, to activate these threads into strings, to turn the concrete slabs into pedestals for actors in a musical composition. (…) several performers – neither dancers, nor actors – who complete the instrument by literally becoming its body. In their bodily movements, the performers combine iconic poses of pop-stars with those of antique statues of heroes and gods. Poses one readily recognizes by now as almost generic stage moves, copied by thousands, as immortalized acts of strength. As the performers leave, a room filled with possible instructions and tones remains.’

Text: Laurie Cluitmans
Photography: Gert Jan van Rooij

Waltz of the Matinées is based on the idea of building musical instruments that challenge the physicality of the performer, and the space in which it is activated. The instrument becomes a non coherent element, it is not accommodated to the body of the performer, or to it’s own optimal functionality, but is rather taking shape within the space in which it is placed, and achieves legitimacy in the way it is activated together with the body of the performer.


The installation deals with the phenomena of pop- and rock’n roll performance, but by peeling of the most obvious aspects of it- energy, laudness, rhythm and attitude- leaves the room as a quiet and static space. Only the compositional elements are kept as bare forms and patterns, to enhance the present intention of sound and movement. Both the video and the tention of the strings, are hints of what could happen in the room, without having a clarifying presence themselves.

“Something happened on the day he died” — In the performance the focus lays on elements of balance and endurance, underlining the dependance on the strings to carry out the postures, and the change of sound resulting from it.

By materializing through sound, the ephemeral essence of the postures, these being glimpses extended by the physical support of the strings and platforms, gives them an almost supernatural quality. The sound becomes a symbol of the popstars aptitude to rise above physical laws, confirming it’s divine status.

Something happened on the day he died
it came as a surprise, like black holes i the sky
comin’ in in all directions
it’s a hard rain’ that’s gonna fall
if you cry me a river
’cause everybody hurts
leaving in the fairest of the seasons.
glas traps open and close on nite flights
and by tracing it twice I fell through the ice
’cause to give a man luck he must fall in the sea
but jesus was a sailor when he walked upon the water
and i gotta land with my feet firm on the ground
’cause I walked a thousand miles just to slip this skin
‘and I’m a legal alien-I go out every night and sleep all day
but if you stay, I’ll make you a day
such a perfect day
When the music’s over I’m so tired
but wake me up before you go
nessun dorma nessun dorma!
every morning I walk towards the edge
ain’t no mountain high enough
’cause sometimes I run, sometimes
I’ll be running up that hill
But I keep on falling —
I fell down down down
P1100485 lys
Lyrics by David Bowie,Pink Floyd,Patti Smith,Bob Dylan,Justin Timberlake,REM,Nico,Scott Walker,Tom Waits,Leonard Cohen,Kate Bush,Bruce Springsteen,Sting,Prince/Sinéad O’Connor,Lou Reed,Roxy Music,Wham!,Puccini,Björk,Marvin Gaye,Britney Spears,Alicia Keys,Johnny Cash.
Performers: Nicolina Eklund, Real Lee and Francesca Burattelli
Camera: Alina Ozerova, Hortense Lauras
Photography: Margaux Parillaud


Francesca Burattelli