Mass Black Implosion
24th August – 30th September 2017
Anna Schwartz Gallery
“Marco Fusinato’s Mass Black Implosion series began in 2007. Serial in form, each work uses an existing cultural document — a 20th or 21st-century avant-garde music score — as the formal, material and conceptual basis for a set of actions or interventions. Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point. Where a composition comprises more than one sheet, these are then singularly framed and installed sequentially on the gallery wall, creating an extraordinary graphic rendering of the energy of aural compression and expansion.
In these works, treated by Fusinato as propositions for new noise compositions, the qualities of each individual note and their relation to those around them are effectively compressed into a single point of intense concentration. This is the energy of implosion, which always infers at least the potential of its counter energy in explosion, energy radiating out from the single point of origin. Fusinato’s intervention into the scores therefore visualises and proposes the possibility of a dialectical energy running through the original work that has a political dimension as much as an artistic one — a relentless propensity to both destruction and expressive creation in the single action, or in this case the production of noise.”
Blair French, The National: New Australian Art, 2017.
“Fusinato’s technique of appropriation and overlay in ‘Noise & Capitalism’ calls to mind his ‘Mass Black Implosions,’ 2007‑, drawings in which he traces straight lines from each note on every page of an avant-garde musical score to a single arbitrarily chosen coordinate. Experimental compositions from such figures as John Cage and Cornelius Cardew are thereby transformed into diagrams resembling collapsing galaxies. (He achieved the opposite effect in the photographs that compose the ‘Sun Series,’ 2002, by shooting head-on into the radiating sun) … Deploying the conventions of one-point perspective to convert the diachrony of the musical score into the synchrony of a visual field, each ‘implosion’ implies a new version of the score as a noise composition, all the notes melding into a simultaneous cacophony of indeterminate duration.”
Branden Joseph, Artforum, 2011.
Marco Fusinato is an artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording. His overall aesthetic project combines allegorical appropriation with an interest in the intensity of the gesture or event. As a musician, Fusinato explores the idea of noise as music, using the electric guitar and mass amplification to improvise intricate, wide-ranging and physically affecting frequencies.
His work has been presented in many exhibitions, including: ‘The National: New Australian Art’, Museum of Contemporary Art Australia (2017); ‘All the World’s Futures’, The 56th Venice Biennale (2015); ‘Soundings: A Contemporary Score’, the first ever exhibition of sound at the Museum of Modern Art, New York (2013); a range of projects and performances for ‘The Imminence of Poetics’, 30th Sao Paulo Biennale (2012); and ‘Sonic Youth: Sensational Fix’ (2008−2010) a travelling exhibition around European museums of artists who have collaborated with NYC rock band, Sonic Youth. His on-going series of long-duration noise-guitar performances, ‘Spectral Arrows’, described as a monumental aural sculpture, first performed at The Glasgow International Arts Festival Glasgow in 2012, has since been performed in museums and theatres worldwide.