Mar­co Fusinato
The Infini­tives

‘The Infini­tive’s (2015) presents images from the print media of the deci­sive moment in a riot in which a pro­tag­o­nist bran­dish­es a rock. Each image is from a dif­fer­ent part of the world, from the sec­ond decade of the twen­ty-first cen­tu­ry (post ​‘Arab Spring’ and the ​‘Glob­al Finan­cial Cri­sis’). Each image is blown up to his­to­ry-paint­ing scale using the lat­est com­mer­cial print technologies.

Mar­co Fusina­to is a con­cep­tu­al artist and noise musi­cian His works are almost always ser­i­al, as if demon­strat­ing a the­sis, using a set of rules as ​‘con­trols’ for exper­i­men­ta­tion. While Fusina­to often with­holds his own inter­pre­ta­tion of the images and objects he presents and re-presents, the mate­r­i­al itself plain­ly indi­cates the artist’s inter­ests in the poten­tial over­lap of cul­tur­al pro­duc­tion and rad­i­cal modes of social organisation.

Fusina­to per­forms reg­u­lar­ly in the exper­i­men­tal music under­ground, mak­ing use of the elec­tric gui­tar and asso­ci­at­ed elec­tron­ics to impro­vise intri­cate, wide-rang­ing and phys­i­cal­ly affect­ing frequencies.

His work has been includ­ed in many exhi­bi­tions includ­ing All the World’s Futures, the 56^th Inter­na­tion­al Art Exhi­bi­tion of the Venice Bien­nale, 2015; Mon­di­talia, the 14^th Inter­na­tion­al Archi­tec­ture Exhi­bi­tion of the Venice Bien­nale, 2014; Sound­ings: A Con­tem­po­rary Score, the first ever exhi­bi­tion of sound at the Muse­um of Mod­ern Art, New York, 2013; A range of projects for The Immi­nence of Poet­ics, 30^th Sao Paulo Bien­nale, Sao Paulo, 2012 and was also fea­tured in Son­ic Youth: Sen­sa­tion­al Fix (2008−2010) a trav­el­ling exhi­bi­tion around Euro­pean muse­ums of artists that have col­lab­o­rat­ed with the NYC rock band, Son­ic Youth.

Exhib­tions include The Infini­tives, Anna Schwartz Gallery, Syd­ney, 2015; Con­stel­la­tions, ICA, Sin­ga­pore, 2015; Mass Black Implo­sion(Trea­tise, Cor­nelius Cardew), Anna Schwartz Gallery, Mel­bourne, 2013; The Col­or of the Sky Has Melt­ed, a sur­vey exhi­bi­tion of recent works at the IMA Bris­bane and Art­space, Syd­ney, 2012; THERE IS NO AUTHOR­I­TY, Anna Schwartz Gallery, Syd­ney, 2012 and Noise & Cap­i­tal­ism, Anna Schwartz Gallery, Mel­bourne, 2010.

Fusinato’s 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 all around the world. It will be pre­sent­ed as part of All the World’s Futures at the Venice Bien­nale in Sep­tem­ber 2015.

The new mono­graph Let’s Destroy Work, 2015, pub­lished by Schwartz City, with essays by Bran­den W. Joseph, Pro­fes­sor, Art His­to­ry at Colum­bia Uni­ver­si­ty NYC; and US-based music crit­ic Byron Coley presents a com­pre­hen­sive overview of the past two decades of Fusinato’s projects in art and music.