31. Marco Fusinato


Spectral Arrows by Marco Fusinato (live recordings by Gerben Kokmeijer, edited by Marco Fusinato)

Stuttering live concrete, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static on a double sided black vinyl containing edited sound from the live recording of Marco Fusinato's endurance performance 'Spectral Arrows' for DE PLAYER on 18 May 2013 at Groothandelsgebouw, Rotterdam, the Netherlands.

'Spectral Arrows' is an ongoing series of long-duration performances for guitar and electronics. In 'Spectral Arrows', Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to find contentment with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener's ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinatos resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken. The sound of 'Spectral Arrows' becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air.


Marco Fusinato is a contemporary 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 a gesture or event. As a musician, Fusinato explores the notion of noise as music, using the electric guitar and associated electronics to improvise intricate, wide-ranging and physically affecting frequencies. Fusinato's 'Mass Black Implosion' series began in 2007. Serial in form, each work uses an existing cultural documenta twentieth or twenty-first century avant-garde music scoreas 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 explosive 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 onea relentless propensity to both destruction and expressive creation in the single action, or, in this case, to the production of noise.


We got in touch with Marco Fusinato through our '8-INCH' series. For this we published 8" records with artists and labels. One of these labels was Circle Records, which had been up and running for a few years, headed by John Nixon, Julian Dashper and Marc Fusinato. For the release event only John Nixon could be present, as Julian unfortunately died at young age and Marco was primarily active as a visual artist. One of Marco's most-known projects is called 'Black Mass Implosion'. In this project, he appropriates scores of avant-garde composers and connects each note with one arbitrary point on the horizon. This creates strong graphic works and partly blackens out the original score. From this perspective, his live performances can also be considered as black mass implosions. As most of his work engages with highly political issues, we invited him to do a performance within the context of the event 'MUSIC & CAPITALISM'. He suggested that he could do an eight-hour performance in an official office building, on a Saturday from 09:00 to 17:00. Where people would normally be doing their office work, Marco now played for eight hours in the empty office building. People were guided to the eighth floor and into the directors room, which was darkened with newspapers stacked on the windows. A huge public announcement system was in the office blazing loud, but very articulated sound. Good food and drinks were served.

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