DARKO THEATRE FRITZ TIME

The project is realized with several initial exposures. The cliched form of opening  an exhibition with a speech is a removed happening because it occurs in a TV studio and is being transferred to a gallery, so that the audience present in the gallery understands what is going on but TV audience outside this space knows only its absurdity. The broadcasting of the video film, 'Autobahnkreutz', which follows this is a more authentic experience to the TV viewer while in the KIC cinema hall, this is a transmission, a projection. Viewing the photographs after this is an authentic experience only for those who are in the gallery. This is how that circle is opening and closing.
One could think that in the end, the photographs are a static leftover without a dynamic share in the contents of the entire thing, that this is a usual (often used) multi-media procedure in the sense in which such a thing appeared during the sixties, seventies and eighties in various places on various occasions when one tried to achieve either variety or simply to demonstrate the presence of new media. This, however, concerns media inversions, interferences, transformations which from their foundations all respect them, but their understanding is the basis of the poetics of Darko Fritz's expression. Their rhetorical qualities and expansion throughout the dimensions of time and space, visual structuring, technological or more precisely high-tech characteristics, are a foundation for the author's radicalism of sectio anatomica sui generis. In the continuation of his independent work, (which began with Zeljko Serdarevic from 1988 to1990 within the work of 'The Imitation of Life Studio'), going beyond the so-called 'primary proceedings' to a subtle interference of the visual, technological and creative-imaginative at the civilizational level of the end of twentieth century. Therefore, the ultimate, in the traditional sense of this word, artistic reach of his works does not lie in the fact that some of the photographs were taken by a camera, some are photocopies, some are digital pictures, some are videos, etc., but in their reflection and reproduction having as a goal the work which in itself contains a meaningful relationship of a typographically expressed message, of visual persuasiveness, and of a context which can be perceived only by those who participate in the drama of PICTURE for which it is already impossible to determine a starting point and documentary authenticity. All these pictures start their independent dance on the THEATRE scene of our TIME. This split is hypnotic and Fritz uses it for structuring different contents, at one moment of clearly recognizable messages ('National Vibrator'), at another moment, of anthroposophical ('Interexposed Edition'). And in the fact, many will ask themselves why all these pictures look like such HYPE!