Works by Darko Fritz
Darko Fritz's objects, installations and pictures are generated in a
time-space laboratory. The chemicals in his experiments are codes and
media. But the philosophers' stone, the perfect form that replaces reality,
is a dream of the distant past. This alchemist has no illusions. Purification
processes are always incomplete. The alternative is self-description:
presenting delusion as delusion, the archaic ritual of confirming failure
as the safest of all possibilities.
Fritz's works are shaped from the difference between the slowness of
the body and the technological acceleration of time. They are mimetic
investigations of semiotic systems and communication structures which
influence culture. The underlying visual artefacts are rooted in art
history, heraldic images of war, and binary codes. It is from these
that Fritz formes networks to investigate the evolution of communication
structures. He transports one element into another, combines, assembles
and changes media. His works negotiate the relationship between surface
and depth. His interest lies, not in deciphering the code, but in its
permanent self-programming when changing from one medium to another.
In his earlier works Fritz used sculptural methods: the same code appeared
in stone, in metal plate, in flower bed, on paper and photographic surfaces.
The information changes as a result of the codes they carry. The form
is characterized by its external limit, its surface, which defines the
difference between internal and external qualities. The haptic sensuality
of the material breaks against the technoidheraldic structure which
penetrates its surface as an ornament, a relief.
In Fritz's recent works this process is more abstract. History is conceived
as a corpus where the various depths are interconnected in time and
space. The construction of a communicative interaction between the different
semiotic systems (the artistic and the technoid) integrates the observer
(reflected in the ceiling mirror or the video). He thus exposes himself
to self-description and becomes part of the system. Observation is presented
as self-observation. The observer consciously lives the difference between
his own body and its media image. This is not delusion, it is not simulation,
it is mimesis: the ritual description of the denoted and denotation.
In essence this is a theory of the evolution of communication which
demonstrates differentiation and infers questions about the origin of
structural complexity: "Once continuous... communication has
been secured, how does such great structural complexity develop whether
in many historical societies, or in modern global society?"
Repeatedly working over one and the same question is a well-known psychoanalytic
technique. It is time economy which helps create connections between
the past and the future. The acceleration of history is subjected to
the natural slowness of the body: within the context of universal tempo,
self-organized spaces assert themselves by tolerating differences without
 Niklas Luhmann, Die Kunst der Gesellschaft, Frankfurt/Main
published at End of the Message - works 1995 -
1996, editor Darko Fritz, ex pose verlag Hansgert Lambers, Berlin,
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