MARK FRIDVALSZKI |
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| Works … | |
| →2024 | |
| →2023 | →2019 |
| →2022 | →2018 |
| →2021 | →>2017 |
| →2020 | |
| →Technologie und das Unheimliche | |
| Bio | |
| Mark Fridvalszki (born in 1981 in Budapest, lives and works in Berlin) graduated from the Academy of Fine Arts in Vienna in 2011 and was a postgraduate Meisterschüler student at the Academy of Fine Arts in Leipzig (2014–2017). Fridvalszki is the co-initiator and graphic editor of the publishing project and cross-disciplinary collective Technologie und das Unheimliche or T+U (since 2014). | |
| Archeo-futurology, the excavation of visual remains of lost futures and modernist visions in a post-futuristic, atemporal age, has become the prime method in the art of Mark Fridvalszki. After the uncanny sediments of Cold War aesthetics, visionary yet threatening intersections of deep past and deep future from speculative geology to post-apocalyptic ’’haggard geometry’’ that defined the first decade of his work, this archeo-futurological impulse has brought a 180-degree turn: paranoia has been replaced by utopia, claustrophobic bunker-existence expanded into vertiginous virtual perspectives, grayscale imagery gave way to a psychedelic palette, future-fears turned into future-fascinations. The meta-collages, composed of visual materials of two distinct but in many ways parallel futuristic periods – the years around 1968 as the culmination point of ’’Popular Modernism’’ and the years of 1989 with a special emphasis on the Rave movement’s struggle against the neoliberal invasion of cultural and political imagination – are the sensual results of a seemingly paradox strategy of digging up the past in search of the future, unearthing the still potent utopian impulses repressed by the antimodern consensus. Fuelled by a nostalgia for the future, what Fridvalszki creates are artistic devices for a spectropolitical strategy to summon the exorcised ghosts of Modernity in order to break through the temporal claustrophobia of our presentist age. – Barnabás Zemlényi-Kovács |
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| Education | |
| 2014–2017 Meisterschüler, postgraduate studies at Academy for Visual Arts Leipzig (HGB), Media Arts 2011 Diploma with distinction at Academy of Fine Arts Vienna 2008–2011 Academy of Fine Arts Vienna, Graphic Arts and Printmaking 2004–2008 University of Applied Arts Vienna, Graphic Arts and Printmaking |
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| Membership | |
| Since 2019 Professional Association of Visual Artists (BBK), Berlin Since 2009 Membership of the Studio of Young Artist Association (FKSE), Budapest |
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| Collective | |
| Since 2014 Technologie und das Unheimliche (T+U) | |
| Exhibitions (selection) | |
| 2024 Geisterknochen by T+U, Trafó Gallery, Budapest (solo) Uforia, Vintage Galéria, Budapest (solo) Industry, a project by Neuer Berliner Kunstverein and Uferhallen, Uferhallen, Berlin 2023 Greetings From Tomorrow, Galerie SPZ, Prague (solo) Home Page w/ Anna Tudos, /rosa, Zentrum für Netzkunst (ZfN), Berlin (solo) Archives of Futures III by Montag Modus, Tanzfabrik Berlin Imagine a Breath of Fresh Air, Teatr and Galeria Studio, Warsaw Constellation, Yuan Art Museum, Chongqing; Being Art Museum, Shanghai 2022 Meeting of the Spirits, Szentendre Gallery, Szentendre (solo) Unforeseen Forces of Occulture (U.F.O.) by T+U, The Július Koller Society, Bratislava (solo) A World Without Any Future?, Kunstraum Lakeside, Klagenfurt (statement) Works 21–22, Horizont Gallery, Budapest (solo) I Went Through That Door and I Never Came Back, MeetFactory, Prague Geisterpop/ulation, Kunstverein Eisenstadt Zero Point, Artrooms Moravany, Moravany nad Váhom 2021 Forward and Up!, Kunstverein am Rosa-Luxemburg-Platz, Berlin (solo intervention) Ad Futura, Ad Inexplorata, ISBN books+gallery, Budapest (solo) Iska Delta, 34th Ljubljana Biennale of Graphic Arts, MGLC, Ljubljana Esterházy Award, Ludwig Museum, Budapest Gdansk 2080. Futurological Congress, 12th Narracje Festival, Gdansk Peaks, Pics and Other Inconsistencies, Liptovská Galéria, Liptovský Mikuláš 2020 Future Perfect, Contemporary Art (ICA-D), Dunaújváros (solo) Escape to Forever, Gallery TIC, Brno (solo) Homeless Between Yestermorrows, Horizont Gallery, Budapest (solo) Flagge zeigen, Storkow (intervention) Leaning on the Past, Working for the Future, Kunsthalle Exnergasse, Vienna 2019 An Out of this World Event III, Karlin Studios, Prague (solo) Conditio Inhumana, Hungarian National Gallery, Budapest Research Network/Connections, Schafhof, Freising 2018 If you are manipulated, manipulate back!, Kunstverein Kunsthaus Potsdam :-(, D21 Kunstverein, Leipzig Dome, Zeiss-Grossplanetarium, Berlin 2017 Take Me Back, Artkartell Projectspace, Budapest (solo) 9,81, Art+Text Gallery, Budapest (solo) Rosebuds – Hidden Stories of Things, D21, Leipzig Leopold Bloom Art Award, New Budapest Gallery, Budapest 2016 New, Grey, Polished Chrome, Chimera Project, Budapest (solo) Interference, Trafó Gallery, Budapest Intermarium, BWA Sokół Gallery, Nowy Sacz The Portent of Light, Gallery Meetfactory, Prague 2015 Only Ruins Left, HIT Gallery, Bratislava (solo) Inverz, Kisterem Gallery, Budapest Bewahren Speichern Präsentieren, Lage Egal, Berlin Accumulation of Matter, Lehrter 17, Berlin Around Analogies w/ T+U, Akademie Schloss Solitude, Stuttgart |
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| Awards, prizes | |
| 2022 Working scholarship, Stiftung Kunstfonds, Neustart Kultur 2021 Nomination for Esterházy Award, Budapest 2019 Nomination for Esterházy Award, Budapest 2018 Working scholarship, Kulturstiftung des Freistaates Sachsen (KdFS) 2017 Nomination for Leopold Bloom Art Award, Budapest |
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| AiR, projects | |
| 2022 Ferenczy Museum, AiR, Szentendre, H 2019 Futura, AiR, Prague 2018 7th Sympozium Litomyšl, curated by Jan Zálešák, Litomyšl, CZ 2018 The Last Amazonian Congress, curated by Lucia Tkáčová, Polana Forest, SK 2018 Schafhof, AiR, Freising, DE 2018 Ebenböckhaus, AiR, München 2015 Meetfactory, AiR, Prague |
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| Collections | |
| 2023 Neuer Berliner Kunstverein, Artothek, Berlin 2022 Hungarian National Gallery, Budapest 2022 Ferenczy Museum, Szentendre, H |
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| Bibliography (selection) | |
| Magdaléna Michlová, ’’About Dirt, Memes and Hope’’, in →artalk.cz, 26.7.2023; in →blokmagazine.com, 28.8.2023 Other Knowledge, ed. by Tereza Jindrová, Eva B. Riebová, MeetFactory, Prague, 2022 Youhu: The New Generation of Hungarian Contemporary Art, ed. by Gábor Rieder, Zita Sárvári, Kieselbach Gallery, Budapest, 2022 On Easternfuturism – Kajet Journal 5, Winter 2022 Mark Fridvalszi, Zsolt Miklósvölgyi, ’’Mark Fisher in Stalin City’’, in →The Future of … 1, published by Kajet Journal and Dispositiv Books, 2022 Flóra Barkóczi, ’’Utópista ’’deejaying’’ a posztinternet kultúrában’’, in →artportal.hu, 22.5.2022 Łukasz Białkowski, ’’Wesoły śpiew technoszamanów’’, in →Szum Magazine, 2022/36. Ármin Tillmann, ’’A többlettudat öröme’’, in →artportal.hu, 27.4.2022 Endre Cserna, ’’68 89 21–22 420’’, in →Artmagazin Online, 20.4.2022 The Iskra Delta Project Catalogue, ed. by Tjaša Pogačar, Nevenka Šivavec, 34th Ljubljana Biennale of Graphic Arts, Ljubljana, 2021 Bertalan Eged, ’’Esztétikus kísértetidézés, avagy bozótharc Mark Fisher sötét erdejében’’, in Apokrif, 2021/3. Király Péter, ’’A jövőbe tekinteni, a jelenben élni, a múltban keresni’’, in →prae.hu, 26.6.2021 Attila Sirbik, ’’Szellemek utáni áhitat – interjú Fridvalszki Márkkal’’, in Magyar Narancs, 2021/12. Maximilian Wahlich, ’’Poppige Kunst fürs cleane Foyer’’, in →art-in-berlin, 27.2.2021 Bea Istvánkó, ’’Tökéletes formák, tökéletes vonalak’’, in →Új Művészet, 2021/2. AVE 6, in →Ave Magazine, 2020/1. Barnabás Zemlényi-Kovács, ’’A hantológia hontalansága’’, in →Café Bábel Nr. 81: Techno, 2020 Attila Sirbik, ’’Szövevényes mindmap’’, in →Új Művészet, 2020/6. Tayler Patrick Nicholas, ’’A múltra támaszkodva dolgozni a jövőért’’, in →Új Művészet, 2.9.2020 Attila Sirbik, ’’A jelen mint a víz felszínén remegő, gradiensekben pompázó 4K olajfolt – interjú Fridvalszki Márkkal’’, in →Új Művészet, 2.9.2020 János Schneller, ’’Talán csak nosztalgia …’’, in →Új Művészet, 10.3.2020 Where Do We Go from Here, ed. by Jan Zálesák, Jen Kratochvil, 7th Sympozium Litomyšl / Galerie Miroslava, Litomyšl, 2019 →Rosebuds: Hidden Stories of Things, ed. by D21 Kunstraum Leipzig e. V., Lena Brüggemann, Francis Hunger, Fabian Reimann, Leipzig, 2018 Zsolt Miklósvölgyi, ’’Otherworldly Euphorias’’, in Artmagazin, 2018 Nemes Z. Márió, ’’Nosztalgiakocka’’, in artkartell.hu, 17.11.2017 Róza Tekla Szilágyi, ’’A technorégész’’, in artkartell.hu, 29.1.2017 Eszter Márkus, ’’Y-generációs absztraktok’’, in →artportal.hu, 12.1.2017 Márió Z. Nemes, ’’The Simulacrum Bleeds Matter’’, in Artlocator, 2016/3. →Intermarium, ed. by Łukasz Białkowski, Piotr Sikora, BWA SOKÓŁ Gallery of Contemporary Art / SOKÓŁ Małopolska Cultural Centre − Institution of the Province of Małopolska, Nowy Sącz, 2016 Attila Sirbik, ’’Totális most’’, in →Artmagazin Online, Nr. 88, 2016/4. J.A. Tillmann, ’’A légószürke szépsége’’, in →prae.hu, 4.7.2016 Szilvia Fekete, ’’A polírozott króm ötven árnyalata’’, in Élet és Irodalom, 2016/14. Attila Sirbik, ’’Beszélgetés Fridvalszki Márkkal’’, in Balkon, 2016/1. Szilvi Német, ’’Totális most’’, in →artportal.hu, 16.12.2014 Emese Mucsi, ’’The Stars Look Different Today’’, in →Balkon, 2013/1. |
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© Mark Fridvalszki 2016–2025 |
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