Mark Fridvalszki

 
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Aleksandr Delev & Mark Fridvalszki "APPARATVS" (mixed media environment) 2016 at The Museum, Leipzig
Wallpaper: digital print, ~0,6x14m
Object: iron, enamel paint, ~75x75x190cm
Boards: text by A.D., digital print on aluminium, 30x30cm
Frame: digital print, 70x100cm
Soundscape: cut from Pink Floyd ’’Welcome to the Machine’’ 1975, edited by Nullius in Verba (T+U)
 
Text: Zsolt Miklósvölgyi (T+U)
Photos: Bence Bakai

"APPARATVS"

Recall Vladimir Tattlin’s Monument to the Third International from the beginning of the 20th century. Then consider the Il Continuo Monumento produced by the Italian Superstudio in the ‘60s. Finally, contemplate the futuristic visualizations of King Abdullah’s Economic City. Beyond the accidental morphological congenialities, we see proposed utopian spatial imaginations quarrelling with each other. In addition to the obvious ideological and cultural differences, these designs differ both in how they organize the spaces of imagination, and, even moreso, in the gestures that lie behind the process of organization. We find antagonistic movements behind identical formations and structures. While one set of these movements mobilizes, integrates, optimizes and conjoins, the other one excludes, separates or incorporates. The latter movement characterizes the operation of those CBSs, offshore enclaves and Free Trade Zones (FTZs) that thrive in late capitalist metropolises and are intertwined via a dense network of planetary-scaled IT systems. Examining from physical, political and economic perspectives, these urban complexes are positioned in the hybrid space that can be found between blurred boundaries of reality and imagination. They lie beyond spheres that can be grasped by the human mind or by the naked eye, on the hithermost side of an already-fulfilled utopian/dystopian destination. Their irritating efficacy draws on the factthat structurally they can be approached only through their surfaces, pictures, eventrations and projections. They are spatial apparatuses whose only evidences are given in their precisely-adjusted silhouettes and in their ethereal visualizations, since their inner operating mechanisms are constantly locked upon themselves. In this sense, their topographical strategy is archaic: attacking outwardly and closing inwardly. The next stage of this over-aesthetized architectural tyranny is the StockCity that combines VR technologies with data and architectural visualization in order to create the imaginary cities of stags and investors. In StockCity the height of the buildings is not defined by the set of architectural regulations, but by the amount of the capital they want to depict. Its weather is not affected by the atmosphere of the Earth, but by the irrational whims of the financial markets. The aesthetic subject of StockCity is not Baudlaire’s flâneur, but the Cartesian user of the Oculus Rift. Those boundaries that had supposedly separated the spatial softwares and the hardwares of the city are blurring into each other. These liquefying notional and physical contours are craving for new metaphors and paradigms, like the theory of extrastatecraft, developed by Keller Easterling, that tries to unfold a critical interpretation of infrastructure spaces. Or like the APPARATVS, created by Aleksandr Delev and Mark Fridvalszki, that demonstrates the tremendous and terrifying crystallization of this new spatiality.



 









Text: Aleksandr Delev






Text: Aleksandr Delev





 




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