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Kim van Norren's heart skipped a beat on the announcement that
the Eurovision Song Contest would take place in Rotterdam. It
turned out to be the go-ahead of the exhibition; 'We are
the heroes of our time, Eurovision Song Contest, our guilty
pleasure'. The Song contest with its specific international
and political character, combined with the wonderful songs it
generated, provided a rich breeding ground from which a great
variety of paintings could come about. In lining up all winning
songs throughout the years, a rather vague, yet consistent, picture
emerges. Puff pieces alternate with enamoured chansons, without
blinking an eye.
Song Contest songs tend to 'find their way in'. On appearing,
noteworthy songs gradually evolve into lyrical monuments that hold
an alternate universe within; the reality of music and emotion
intertwined, as it cradles in humankind.
ABBA's 'Waterloo' originates from 1974 and is an
undeniable gem that presents us with a reality bearing witness of
mankind's agile manner of coping with misfortune. The light-hearted
musical disposition offered space for reflection,
empowering 'Waterloo' to become an example of
vitality. Pending this pandemic year's misery, the studio turned
out to be a luxury retreat within the situation of home
confinement. Song Contest's winning songs reverberated as angelic
echoes in the isolation of the studio, opening the door to the
darkest cavities of the human condition. This perspective on man's
downfall simultaneously offered the perspective of an exit
strategy.
Regarding the creative process, two guiding principles
prevailed: the painting had to be 'over-the-top' and every painting
had to be 'a champion'. Accordingly, the
painting 'Finally facing my Waterloo' went
through a variety of stages; starting out as a predominantly
graphical composition in a modest colour palette, holding several
shades of pale yellow, light pink and cautious turquoise. At a
certain stage it was nothing more than an ordinary catfight, as
flashy yellow wrestled candy pink and both were overruled by a
smashing turquoise. It was a 'Song-Contest-worthy-process' that
reached its apotheosis in a well-balanced assembly of extremes into
a coherent composition underlined with just the right amount of
gold-sparkle. 'Waterloo' actually turned out to be 'my
Waterloo' thus said van Norren; 'compromise finds
no refuge in painting.'
"We are the heroes of our time' consists of 20
paintings bearing memorable Song Contest-titles dating back as far
as 1972. Each painting is accompanied by its own unique QR code
enabling the spectator to simultaneously watch the corresponding
Eurovision Song Contest performance. This exhibition by Kim
van Norren, at best, lifts the beholder out of its pandemic misery
for at least one whole evening. The visual arts and music, and art
in a broad sense, particularly convey the message that there
will be sunshine after the rain.
Jeangu Macrooy seems to have the best cards for this year's Song
Contest with his song 'Birth of a new age' as we all
are ready and waiting for the Post-Corona era.
April 2021
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