Not too long ago, while cycling through the polder, I experienced a euphoric moment. All of a sudden I saw brighter colours; I was aware of every detail; it felt like everything around me came alive. It lifted me from the daily rush into the moment itself. This experience had such a great impact on me that I became determined to recreate it; to share it with lots of people. The perfect spot for this is The Hague’s city hall. The size is overwhelming and makes you disappear in the big, white nothing. Inside, time seems to run slower, making you more aware of the moment. The immaterial, temporary installation is surrounding you in magic. You can’t grasp it; you can’t take it home, only the euphoric sensation itself counts.
Kitsch has to do with what you consider beautiful or not and why, in general, you purchase things. To a certain point kitsch is related to taste. Taste wasn’t diffuse at first but smashed apart by the industrial revolution. This is also around the moment that the concepts of kitsch and camp surfaced. The most interesting property of kitsch is that of being ripped out of context. This has inspired artists who seem to be understanding the role of the media in the matter of taste, context and therefore right and wrong. Their work is controversial. They are playing the ‘authority’ ― the media. They are the avant-garde of what the avant-garde repulses.