Mark Fridvalszki's artworks deal with the sensual materiality of failed modernist visions of the future. The artist typically mixes a wide variety of media, such as wallpaper, found and manufactured objects, digital printing and other printing techniques, and combines them in room-filling collages. His artistic program can be described as archaeo-futurological, meaning that it deals with the remains of forgotten utopias, the cultural sediments of our lost collective future.
For Showing True Colours, he centered his research on the neighborhood of a well-preserved prefabricated building - the Maxim-Gorki-Schule. In his flag installation Fleeting Moments, he draws attention to the discrepancies in quality and spirit between buildings from an earlier, positivistic and future-oriented period and the retort buildings of the late 20th century by using motifs from midcentury modernism, such as typography, record cover designs, forms of radical architecture such as pavilion buildings for world fairs or public sculpture parks: all witness to unfulfilled expectations. From the perspective of the continuous acceleration of the 21st century, it almost seems as if these visions of the future never happened. But the artist is interested in what remains of the visions of a modernist future that never arrived, where they have led and how they relate to the global dystopias and real disasters of the present. It is important for him to question nostalgia and at the same time allow for escapism.
He himself says: “We are faced with the by-products and waste of the ‘optimism of the modern age.’ We are disappointed with the present, we have long since given up the 22nd century and are looking in vain for a way back to times that still had future concepts. Banned in the contemporary, endangered, hyper-digital ‘Permian Desert’ skeuomorphic superficiality, robbed of the possibility of deepening.”