Volkskrant 06/11/02
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translation:
On the other hand, in Double Intuition #2 the eccentric choreographer and fashion-show director Martin Butler is precisely looking for a deep affinity with performer Renée Copraij, a former dancer and assistant director to Jan Fabre. Uniformly, they walk about in the almost empty rectangle – one dressed in a smart grey, the other in a sober black-and-white suit.
The subtle, roundabout advances are quite an invention. First, from a distance they make two whitewood chairs tilt against each other by way of ropes. Then they present erotic positions from the Kamasutra in shadow play, in which only their projected images are making love. And Butler’s affinity with fashion is tangible in the painstaking aesthetics: wigs, vests, lamp – everything is in tune.
The driving spirit behind this performance is the distorted live music played on an electric harp as well as on a modern version of the street organ. But with their slow progress, Butler and Copraij rely heavily on the spectator’s conceptual empathy. The consequent realisation commands respect, but it would have all been more exciting in the third gear than in the first one.
Annette Embrechts, de Volkskrant 2 November, 2006