Mark Fridvalszki

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"Starless 1-6 / 7-12" (digital collage, acrylic transfer on canvas, each 60x60cm / wallpaper: size variable, digital print: 30x30cm) 2016
Group show "Interference" at Trafó Gallery (Budapest)
Curated and text: Áron Fenyvesi
Photos: Miklós Surányi

The thematic focus of the group exhibition of Trafó Gallery concentrates on new abstract tendencies; one of the potential big narratives of young contemporary Hungarian art. Abstraction, which has evolved theoretically and aesthetically for over hundred years, was an important central notion for many generations of Hungarian artists during the 20th century; the youngest generation has just started to experiment with it a few years ago. The special local feature of the new abstraction might be that the young generation, which is ambitiously trying to find it’s positions in the art world, uses references of the 1960s and 70s abstraction, which wasn’t that popular after the turn of the millennium. It is important to note though, that the exhibition is not based on a homogenous notion of abstraction. There are many forms of visual and spatial abstraction present in the gallery, and the exhibition tries to create parallels and potential connection-points between them. There is analytic abstraction, conceptual abstraction, technical abstraction and lyrical abstraction present in the works of the exhibitors who also tend to create hybrids out of these concepts. And it is utmost important, that all four artists share a common motivation in creating interferences, bugs, glitches in the acts of the perception of the viewers.
Mark Fridvalszki, who is currently living in Leipzig, is obsessively examining (post-)digital aesthetics and glitch. His complex installation in the gallery space can be interpreted as a personal techno-archeological research. His works can be seen also as imprints of a nostalgia that reaches towards a more understandable, more analogue world, which is not as indigestible as the mechanisms of the digital black box. Fridvalszki’s​ Starless​ series, which consists of compositions on canvas and ​wallpaper, clearly tends back towards materiality after the digital revolution of the 00 years. Fridvalszki operates with geometrical motifs that rehabilitate the tactics of op-art and minimalist tendencies. With the technology of acrylic transfer on his paintings he creates analogue glitches, which make the calculability of the digitally generated motifs collapse. The phenomenon of the glitch that appears in the works of Mark Fridvalszki is always located inside the machine. The glitch is always caused by the human operator, who creates errors in the hardware or applies a wrong software code. But because of the glitch we are able to see behind the machine, the error unveils itself and actually this is an effect which helps to understand how the machine is operating – paraphrasing the thoughts of Carolyn Kane.

"Hommage für das Material III." (video, 8' loop, on VHS 88' / music by FOR.) 2016

The video Hommage für das Material III. (link) investigates the liminal zones between matter and immateriality. Robust, monolithic, abstract forms coagulate to moving 1s and 0s (.gif). The retrograde aesthetics and the pursuit of minimalism are emphasized through basic filters of the editing software at hand (Windows Movie Maker). This distortion in the imagery appears as interference, whereas the actual forms are pushed towards 'immateriality' and accidental image generation. In the course of multiple dubbing from digital file (.avi / .mov) to VHS tape prolific glitch effects are generated and permeate the imagery, like 'living tissue over metal endoskeleton'. Hommage für das Material III. represents the alienated 'cyberscape', where rustic elements from a deep past are revealed as time capsules identifying their moment in a dramatic 'techno-greyness'.

Video played on Hantarex EQ/3 28'' through Panasonic videocassette recorder

© Mark Fridvalszki 2008 - 2021
Last Revision: 10 - 11 - 2017