[x] Fusinato ▶

Sentences that have Fusinato in common :


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.
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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.
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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.
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Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely antisocial position facing away from the audience, the standard affective relationship between audience and performer is broken.
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We got in touch with Marco Fusinato through our '8-INCH' series.
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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.
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Marco Fusinato is a contemporary artist and musician whose work has taken the form of installation, photographic reproduction, performance and recording.
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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.
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Fusinato's 'Mass Black Implosion' series began in 2007.
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Specifically, working with facsimile sheets of the score, Fusinato draws lines from each note on the page to one chosen point.
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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.
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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, to the production of noise.
└ from 31 — Marco Fusinato


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