While reconsidering the artworks that had already been developed at Camouflash and the background philosophy behind the topic, a certain divergence within the conception came to the fore, to quote Baudrillard. Many philosophers attest that the role of contemporary art is more  that of unconsciousness rather than incorporating a genuine possibility to consciously reflect and act.
According to a metaphor Sloterdijk uses, we currently find ourselves in a construction site. One could go a step further and say that we are on a construction site that is in a skeletal state. For a long time, human beings have had to stand their ground against an all-powerful nature and a multitude of spirit worlds. Humans have now become the masters of reality themselves, but remain in a overbearing endevour of implementation and realisation, which currently leads towards a certain totalistic disclosure of the world.
This compulsion of materialistic product fetishism in the art world can be seen realized in artworks as a 1:1 value system. An artwork equals art value, equals market rate, equals shares, equals nomination table or, in a more democratic manner, eqals click quote in so far as the art sphere itself operates as  a sanctum of camouflage,  as a habitus, as an icon of self-protection and noncommitment. This presumption is provocative and problematic at the same time. Art can be and wants to be something else/more; yet, it is seldom in the position to be so because the circumstances in which it is perceived or allowed to be perceived serve other purposes and interests to a large extent.
As long as artworks continue to allow themselves to remain in the sphere of elitist indulgence , within the realm of mirroring, illusion and appearances, they will continue to be the available vehicle at the wrong place. For they are the ones in which what is hidden lies, which  allow the reconfiguration and embodiment of that which already exists. The riddles of the world have been solved and are known, the unknown is no longer separate from us. Art itself is now called upon to create the unknown, to create the gaps and to apply this as the necessary principle which can generate new worlds.
Disappearance in Art thus actively takes on seemingly paradoxical attitudes that nevertheless are reunited in one and the same phrasing. A critical stance has to be taken with regard to descending into a solely self-centered sphere as  well as with regard to the repeated occurrence of a consciously  used aloofness, of making things invisible. Disappearance should by all means be understood as a strength, as a skillful aesthetic strategy, as a withdrawal which allows something else to emerge more clearly.

Anja Tabitha Rudolph