Fridvalszki Márk: Take Me Back
28 October – 10 November 2017
Artkartell projectspace presents a space installation by Márk Fridvalszki (1981), a young artist living in Germany. Fridvalszki is one of the key figures of the generation characterized by the post-internet attribute. He is a media-savvy installation artist who never gets tired of combining visual wrecks of digital space, the products of military industry, the rattles and cracks of noise music, the remnants of natural sources as well as the mysteries of the history of science.
The space installation by Márk Fridvalszki exhibited in Artkartell projectspace titled Take Me Back investigates the inter-relationships of different types of damaging occurring in the course of digitalization, copying and printing. The media-archaeological stance is supplemented by geological and paleontological motives as well as parallels deployed according to principles of (d)evolution and the idea of modernity. The soft light as well as the carpet cut out into the shape of sound and retro prepared with János Iván Kárpáti’s cooperation transform the atmosphere of the space questioning the over technologized character of the present utilizing the air of nostalgia and desiring away.
The central element of the space installation is the wallpaper collage covering the whole surface of the wall opposite the entrance supplemented by the lights, sounds and a carpet also manipulating the surround. The wallpaper consisting of nearly 250 A3- sized digital prints constitutes a closed system of collage continuing the strategy of Xerox art and emphasising its middle side. Fridvalszki collected the pictures selecting them in different ways (using a scanner, a camera and the Internet) then he processed each of them using a picture editing programme for them to assume a body as digital prints. Finally, the images printed out and compiled in the form of a collage were fixed as a photograph, the enlarged form of which is the wallpaper.
The way the wallpaper is composed and the visual effect deriving from the traditional A3-sized black and white prints refers back to digitalism, the pixels getting converted, but it also invokes typical facade murals (mosaics, relieves, etc.) connected to communist modernity. At the same time, it may also remind us of the background painting defining space of exquisite dioramas in museums of science or also wallpaper motives depicting destinations of desiring away encountered in housing estate flats.
This work of art opens temporal, spatial and middle horizons. The events of “conversion” between the different media dynamically wreck the information content of the pictures amalgamating their “bodiless” and “rustic” materiality. In the course of the process, the temporal aspect of being ruined and decaying becomes more and more palpable. The decay invoked is connected to the other elements of the installation as the pictures themselves can only be interpreted through the prism of the distant past (just like the erosion of geological forms are interpreted through geological periods). At the same time the media communicate with one another beginning with the aesthetics of printing communist mass-produced books through picture manipulating programmes and standardized digital prints and ending with plotters working on vectographic principles.
Take Me Back is complemented by the sound installation made by János Iván Kárpáti examining the nature of the desiring away attitude. The music atmosphere comes about from the fragments of sound recorded in our age and the sound layers revived digitally getting layered one upon the other as a collage.
The space itself within Artkartell projectspace can be described as a prism illuminated by high kelvin (4,000 K) white neon tubes. It gives an endless and abstract space experience of virtual reality having white walls. Nevertheless, Take Me Back destroys this idea as the orange tone transforms it into a soft and cosy place, in addition, the red carpet found in the middle of the area also contributes to that creating a place for relaxing and meditation with its colour as well as its shape and location providing an opportunity for escapism and romantic desiring away questioning the optimism of the present connected to technology.
Mark Fridvalszki (1981, Budapest) lives and works in Leipzig and Berlin. He graduated from the Academy of Fine Arts in Vienna (2011) and was a post-graduate 'Meisterschüler' student at the Academy of Fine Arts in Leipzig (HGB, 2014-2017). Fridvalszki is the co-initiator and graphic editor of the publishing project and cross-discipinary movement Technologie und das Unheimliche (or T+U, 2014). He participated in various exhibitions and art events, such as the Akademie Schloss Solitude Stuttgart (T+U, 2015), Trafó Gallery in Budapest (2016), HIT Gallery in Bratislava (2015), Chimera-Project Gallery in Budapest (2016), Kisterem Gallery (2015), Meetfactory Gallery (2016, also a resident), New Budapest Gallery (2017, nominated for Leopold Bloom Award) and NoD in Prague or Vorspiel Transmediale in Berlin (T+U, 2016).