CAMOUFLASH – DRESDEN
Mariusz Sołtysik, Aurelia Mandziuk and Anja Tabitha Rudolph
co-organizar: PATIO Art Center, Academy of Humanites and Economics in Lodz.
SHILPA GUPTA (India), KATHERINE BEHAR (USA), ALLAN HUGHES (Northern Ireland), REINIGUNGSGESELLSCHAFT (Dresden), JANUSZ BALDYGA (Poland), ERIC VAN HOVE (Belgium), HARRO SCHMIDT (Hanover), MARIUSZ OLSZEWSKI (Poland), ULU BRAUN (Berlin), MARKUS HUEMER (Berlin), AKI TARR (Dresden), DANIEL BIESOLD (Berlin), SUZY SUREK (USA), TAKAKO KIMURA (Japan), YOSHIAKI KAIHATSU (Japan), ERIKA KNERR (USA), DANIEL RODE (Dresden), ANDREAS SACHSENMAIER (Berlin), OLGA BERGMANN (Iceland), TATSUYA HIGUCHI (Japan), ARIANNE OLTHAAR (Netherlands), DIETER LUTSCH (Berlin), CHRISTINE MACKEY (Ireland), KRISTAPS GULBIS (Latvia), ANDRÉ MAROSE (Berlin), ANNA MACLEOD (Ireland), BERND IMMINGER (Berlin), JESSICA HIGGINS (USA), MARTIN BRAZINA (Czech Republic), EWA SZCZYREK-POTOCKA (Poland), GABRIELE HORNDASCH (Düsseldorf), MARIUSZ SOLTYSIK (Poland), MIYUKI YOKOMIZO (Japan), TOMASZ WENDLAND (Poland), BOSSE SUDENBURG (Berlin), TOMASZ MATUSZAK (Poland), ADAM KLIMCZAK (Poland), PIA MÜLLER (Düsseldorf), AISLING O´BEIRN (Northern Ireland), TOBIAS HANTMANN (Cologne), GRIT RUHLAND (Wuppertal), CHARLIE CITRON (USA), SARA PFROMMER (Dresden), NÁNDOR ANGSTENBERGER (Berlin)
DISORIENTALISM (USA), DONG JOO LEE (South Korea), LUKASZ OGOREK (Poland),
KRZYSZTOF LUKOMSKI (Poland), SARAH BROWNE & GARETH KENNEDY (Ireland), AGNIESZKA CHOJNACKA (Poland), MARINA NAPRUSHKINA (Belarus), HENRIK BUSCH (Dresden), RICHARD THOMAS (Australia), WIKTOR POLAK (Poland), SUSANA PEDROSA (Portugal), CARLOS ALBERTO CARRILHO (Portugal)
NEULANT VAN EXEL (Berlin)
The group UNOACTU based in Dresden, Germany, in cooperation with the Patio Art Centre Lodz, Poland is presenting the exhibition CAMOUFLASH – DISAPPEARING IN ART to open this friday 29 August, 2008. CAMOUFLASH began as an international artist’s meeting that was led by polish artist and curator Marius Soltysik, in Lodz, that I covered in October 2007.
For Dresden Soltysik’s concepts were used and the original group from Lodz is all exhibiting here. UNOACTU has broadened the theme that Mariusz began, based on concepts of Baudrillard’s theories. They have compared the ideas of other philosophers working in this arena, as well as consciously picked a location right next to the shopping mall across from the central train station in Dresden, which instantly underscores the theme. This project has created an intensive exchange between German and Polish artists.
More than 50 works of contemporary art will be exhibited in the building “Prager Spitze,” by artists from Japan, the USA, Australia, India and several European countries.
Many of the artists are arriving now to set up their installations and prepare for the opening. Another artist from New York, Katherine Behar, will begin a performance starting at the former Zentrum Warenhaus down the Prager Straße to the Prager Spitze, an hour before the official opening at 8 pm. Other talks, performances and a concert will follow.
MEDIATIONS Biennale in Poznan (www.mediations.pl) will present a selection of the artworks – about half of the exhibition – in October 2008.
The Disappearing in Art
Camouflash generates significant meaning through the combination of the words “camouflage” and “flash” which describes a paradox or convergence of opposites. “Camouflage” means both camouflage and hidden nature, and, “flash,” means a spark – an outstanding moment or message that is visible only for a short moment. This is an allusion to the schizophrenia of modern human beings in the society of media communication and public performance. Their endeavour culminates in competing moments, those of hiding and those enabling them to stand out in the crowd for a short moment – to gain identity for an instant. This topic is presented to the public directly in one of those places – where this schizophrenia is celebrated in a pre-eminent manner – within a shopping centre across from the main station in Dresden.
The subtitle “Disappearing in Art” departs from Baudrillard’s conceptual background. The entrance of the worlds of simulation and a matrix, sounded merely apocalyptic in the philosophy of the 80’s. The disappearing in the arts gives evidence to a process that existed in the past. If it is possible to pause, then options could appear that are yet unknown and altogether different than the proclaimed tendencies leading to an abrupt ending. The double meaning of the subtitle leads us to contradicting possibilities of interpretation. There opens space for associations creating significance. The merging of the dimensions of reality and arts into each other and the entailed reduction of their operation fields and efficiency might be interpreted, as well as simply dealing with this topi
c in the arts. Whereby the second in particular, enables a sober reflection of the process itself.
MS & ATR