|→Technologie und das Unheimliche|
|Unforeseen Forces of Occulture (U.F.O.), solo show by Technologie und das Unheimliche, The Július Koller Society, Bratislava
|Collaboration between T+U and JKS; special thanks: Zsófia Németh, Zoltán Komor, Artpool Art Research Center; the project was supported using public funding by Slovak Arts Council; photos by Leontína Berková|
|It is a type of cosmic attempt that can only be envisioned on a balcony of a typical Soviet-style prefabricated high-rise in Dúbravka, an endeavor to enter into a conversation with otherworldly creatures as if trying to challenge a rival to a friendly game of table tennis where the future of cosmo-humanist history is at stake. It is a type of envisioning, where all familiar landscapes, whether the Tatra mountains or Lake Balaton, can all of a sudden turn into an eerie scenery of close encounters of the third kind. It is a type of osmosis where plastic and plasma merge into one to create a new breed of a righteous cosmic society. It is a type of an occult laboratory in which the prime matter of the cosmo-humanist alchemist reaches the speed of light. It is a type of xenotopia wherein a new Eastern European intergalactic agent is born, a type of agent that considers itself a humanist but no longer human; a type of agent that considers itself to be a socialist, and yet has always orbited in cosmic spheres. It is a type of agent that has always believed that communism could only be reformed in an intergalactic wedding when the cloud of smoke from the cosmic chimney (fourneau cosmique) transmutes the nation’s gold into a new body. This is a type of gold that fills up the universe with light it radiates. It is a type of anti-happening that results in the cultivation of transmutation in everyday practice whereby everything we touch turns into gold. It is a type of mystery of the Capital by which the artist ultimately transforms itself into gold and pure speed. It is a type of cosmo-humanist artist who can only prevail by submerging itself in the realm of frightening technologies. It is a type of gold production that allows the anti-happening to radiate as technological lux throughout the ether of the unknown universe.
Július Koller himself tended to listen very carefully to the sounds of this precious light every night, trying to write it down, since he firmly believed that in it any indecipherable code of the unknown universe can be transformed back into gold. We aim to follow this insatiable desire of Koller’s for a mind-altering extra-planetary rendezvous with the Unforeseen Forces of Occulture (U.F.O.), both in and beyond the context of this exhibition. To do so, we daily take part in Kollerian rituals of transforming plastic into ufonautic gold which in turn unpredictably transforms us into clairvoyants, dwarfs, cosmo-patriots, prophets, or tennis players. We can play with interplanetary resonances on electromagnetic waves to make the now vibrating doctrines of national myths sing the aerodynamic anthems of the future. We have directed the vast antennas of massive brainwashing at a new generation of ufonauts who can decipher the genes of the future and metabolize them with their digestive futurological saliva. Today, the destruction of the Bermuda triangle’s imperial power by the acidity of cosmic uncertainty opens the way to a new Atlantis. This is the founding collective of the universal parliament of intergalactic justice.
|T+U, Der Weg von dem kosmischen Diskos, 2022, digital print on blueback paper, 1550x300 cm|
|T+U, Az ég bútorai (Das Möbel des Himmels), 2022, wood, enamel paint, size variable|
|Nemes und Komor, Cosmohuman Antitransmission, 2022, tape, ed. of 10|
|UFO Revelation, 2022, acrylic transfer on canvas, 43x53 cm|
|UFO Revelation I, 2022, acrylic transfer on canvas, 30x40 cm
|UFO Revelation II, 2022, acrylic transfer on canvas, 30x40 cm
|Into UFO III, 2022, acrylic on canvas, 40x70 cm|
|Saucer, 2022, two ashtrays from the former East Germany, ping pong balls, turned beech wood, ⌀16x13 cm|
© Mark Fridvalszki 2016–2023