by Morten Friis /1996

translation from danish text for the book "Strategies d' existence "

colonel formulates this liberation of the exhibition
in his manifeste

 - les differents types de moving exhibition. bordertransgressing and as such is in accordance with the working conditions dictated to the artist by our time. the moving exhibition is a military strategy which simultaneously pays hommage to the sensibility of the artist.

 moving exhibition, the bourgeois type, pays this hommage to the private, introverted room. the artist is protected against the eyes of the public or in company with “the understanding”.

 the semi-bourgeois takes place in an environment where the artist is already accepted. in this type the integration of the public is a central idea. colonel insists upon the existence of a creative potential within the public. the provocation of this potential is central to the extrovert universe of colonel.

 the offensive type underlines the penetrative. the penetration. it is here that the artist agressively manifests himself within the world of art. the artist’s dynamism attracts attention. the artworld is deprived of its monopoly. an exhibition, fernissage, conference looses its substance, when the offensive moving marches in.

flying exhibition is likewise offensive. the works of art are hurled out as paper aeroplanes. this is the most striking visual image of strategy, tactic and means in colonels exposition-method moving exhibition.

 the vagabond type attacks the public space in all its entirety. it is democratic. humble. mobile.

the exhibitionistic type is based upon the aforementioned fascination colonel has for the potential of the individual. this type also represents the movement from the inside and out. from the interior to the exterior. the private is exposed into the public.

l’impermeable is a sublime construction. onto which is printed a thematic exhibition. the exterior part of l’impermeable can be wiewed by all. the interior is hidden. in its totality l’impermeable forms an accumulation of works. l’impermeable pierces all borderlines, surmounts all obstacles and reaches its goal. at the same time as its carrier: the artist.

sport art denotes an expansion and an acceleration of moving exhibition. sport art elevates the competition to an ideal with the motto: sport art is a competition. the direct, physical, social communication becomes accentuated. the work of art exists in the midst of a direct confrontation. moving surpasses its own dynamic nature by being able to follow the acceleration of sport art.
la valise. the suitcase, is a type of exhibition with an integrated, automatic mobility. colonel broadens the concept of “exhibition” by filling the suitcase with works of art. the suitcase is thus exhibited as a piece of art, whereas its contents remain hidden. however, colonel leaves the possibility of a breakthrough into the private sphere of the artistic universe open -

 the visa. in modern mythologi, as in reality, the visa represents the solution that can open doors to new worlds. at the same time it has the means to keep the unwanted out. access to the interior of l’impermeable, the suitcase or other intimate exhibitions requires a valid visa, this is given by the artist. as an exhibition strategy this underlines the demands of the artist to his audience - that of undivided attention and passion. the traditional artistic presentation is turned around by means of the visa. art becomes the chased. the object of passion.

transport. the unpenetrable surface of the media stands as a wall between the artist and his public. colonel has perforated this wall and created a series of surprising loopholes. entrances through which manifests, works of art and statements can step through. colonels media strategy is simple. the birthday section, which is reserved for personal greetings, is used to announce new artforms e.g. the conclusionism. ad-papers are used in the same way to exhibit works of art. like a guerillasoldier of the media colonel places his messages and works undercover. the mediaimages are thus elevated to works of art. presented as such they obviously become integrated in the medias treatment of the artist. they are reproduced in the reviews and articles and is thereupon transported from media to media. on their way they become victims of reduction and change. they live an autonomous life in the media. this transition and transformation  becomes an integral part of a work of art and acts simultanously as an analysis of the media’s consumption of the work of art.

strategy. the penetrating is a standard theme in the exhibition strategies of colonel. colonel proposes a frontal attack on the world, where artist and exhibition fuse together in a veritable warmachine, where all surfaces are assaulted. coloned proposes a fusion of artist and public. a common movement which also leads to a revealing of the mechanisms that lock the creative in a rigid position. yet at the same time one continuously discovers a most personal, emotionally based train of thought in colonel’s  strategic work. a work based on existentialistic considerations. it is in this point of intersection, between the inner and the outer, that we discover colonel.

morten friis