The meanings of masquerades range from pure game to existential acts. It may be an expression of a playful gesture and deepest desires to add itself a different identity to the public. In addition, Carnival and Fasnacht as harbingers of religiously motivated Lent are rooted in pagan customs. In Europe or Africa as well as in the Caribbean or South America – Carnival traditions abrogate for a few days social hierarchies. Especially in restrictive societies there seems to be a need after jester’s licence. Repeatedly artists have emphasized the complex game of appearance and reality in different forms – for auto-biographical reasons as well as for criticism of gender-and race-specific social norms. In particular, since the 1960s (performance)artists have used masquerades as aesthetic-ideological strategy. A characteristic feature of such works is their ambiguity. So any masquerade can be interpreted as a subversive act of liberation, as an expression of non-official cultural values, as an attack on the existing hierarchy of values, as a defense of the body and physicality, and more generally of marginal identities. In the post- modern media age, the masquerade has lost its former potency as an artistic means to a large extent. Parades as Christopher Street Day, Love Parade or other organized mass rallies proclaim an Everything Goes and put the fun factor into the focus.

Phyllis Galembo (USA)

Kristof Georgen (D)

Fergus Greer (GB)

Imme van der Haak (NL)

Axel Hoedt (D)

Thomas Hörl (A)

Klaus Pichler (A)

Yinka Shonibare MBE (GB)

Jacqui Stockdale (Aus)

Jean Tinguely (CH)

Urban Camouflage (D)

Miguel Walch (A)