Post-digitality plays an integral role in my practice as a method of representation, which I embrace beyond the 'digital revolution of the 2000s' and instead with a nostalgia for materiality, rusticality and analogue. In my work, the focus remains on printed matter, and more precisely the printed and photocopied material that emerges from the xerox machine. I begin my artistic process by collecting material along thematic lines, then scanning the images found through research, which I process and print out using image editing software. At this point there are three possible routes to be taken with the source material: exhibiting it as large-format, site-specific wallpaper, processing it further into a unique collage or incorporating it in collaborative publishing projects (e.g. Technologie und das Unheimliche (T+U)).
In my latest works, my aim has been to create complex audial and visual environments, which use large-scale wallpapers and other elements (objects, shelves, plants, etc.) to establish a closed atmosphere in the exhibition space. In doing so, I have looked through an ontological sieve at the contemporary existential questions affecting Homo sapiens: How does one locate oneself in the techno-present? How should one embrace one’s relation to and position within the framework of present, past and future (deep-time, deep-future)? How does one locate oneself in the vision of the new geological era of the ‘Anthropocene’ and of the accompanying acknowledgement that the planet is heading for post-apocalyptic dystopia? Where does one find one’s place on the border of materiality and technologically simulated immateriality, of depth and surface (the transformation of the 'immaterial' into the material)?
What I am attempting to do is to interpret humanity’s situation from a macro-perspective; with a universal vantage point that begins at a distance before closing in on the earth. My artistic representation is based essentially on abstract elements, which in my latest series originate from technological forms native to the military and aviation ('Hagere Geometrie' - 'Haggard Geometry'). In the installations, wallpapers and collages of this series, I have constructed grey abstract spaces using the geometric surfaces of contemporary fighter jet models. My aim is to create atmospheres, which conjure up metallic and technological fantasies as parts of a desolate, lifeless, and haggard dystopia ('Mad Max visions').
Another substantial aspiration of my work is to explore the sublime in both its natural and technological formations; this subject interests me in the context of both deep time ('depth') feeling and planetary material-time relationships. The moment of depth and of going deeper, can also be interpreted as a rebellious stance, which stands in opposition to the aesthetic regimes of the present, the gloss and colour of surfaces, screens and digital clusters of matter (vapour, cloud). Through its constant incorporation of natural raw materials with digital aesthetics and editing, my practice bears an affinity with the concepts of (post)-Arte Povera.
Mark Fridvalszki (born 1981) − graduate from the Academy of Fine Arts in Vienna and since 2014 a post-graduate student at the HGB Academy of Visual Art in Leipzig. Fridvalszki is the co-initiator and graphic editor of the publishing project and cross-discipinary movement Technologie und das Unheimliche ( or T+U, founded 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 in Budapest (2016), in Kisterem Gallery (2015), Meetfactory in Prague (2016, also a resident) or Vorspiel Transmediale in Berlin (T+U, 2016). Currently lives and works in Leipzig.
Fridvalszki’s most recent works he creates abstract geometries and 'immaterial' spaces that investigate the dramatic tensions between
ruin-like atmospheres and a sentient materialism. An important feature
of the artist’s toolbar is an experimental approach towards different
media: he mingles collages, wallpaper environments, found and
manufactured objects, acryl transfer as well as other printing
techniques into room filling installations. He remains strongly
influenced by techno-culture, appropriation as well as post-digitality,
the geological „deep time” as well as contemporary theories of new