Grants & residencies: Marco Fusinato - Art Collector

Issue 63, January - March 2013

This profile appeared in the Grants & residencies feature, part of the annual special issue 50 Things Collectors Need to Know 2013.

Marco Fusinato, Mass Black Implosion (de Kooning, Morton Feldman), 2012. Ink on archival facsimile of score, two panels, each 88 x 70cm. Courtesy: the artist and Anna Schwartz Gallery, Sydney and Melbourne

Artist residency: Australia Council and Anne & Gordon Samstag ISCP Residency, New York.

The past year has been busily climactic for Marco Fusinato and, for an artist as prolific as he is, and whose art is focused so much on the chaotic tipping points of noise and anarchic intensities, that’s saying something. The 2012 Adelaide Biennale – whose title,
Parallel Collisions, was adopted from a 2008 work of Fusinato’s included in the show – followed close on the heels of a monumental and wryly provocative installation earlier in the year at Anna Schwartz’s Sydney gallery, There is no authority (an anarcho-punk slogan from the 1970s, emblazoned on a luxuriously massive, meticulous, handmade woolen carpet). After Adelaide, Fusinato then appeared in New Zealand’s Dunedin Gallery in its major survey show of contemporary sound art, Sound Full. Just after that, he was in Glasgow for its International Arts Festival, delivering an apocalyptic day-long noise and drone performance, and then after that he was back in Melbourne performing at Sonic Spheres, the TarraWarra Biennale curated by Victoria Lynn. In a blink he was in São Paolo in Brazil, installing three major pieces for that city’s venerable biennale, The Imminence of Poetics; and then back in Australia working with curator Charlotte Day on a survey exhibition of his work, The Colour of the Sky is Melting, shown first in Brisbane’s Institute of Modern Art and then at Artspace in Sydney. And this report of his schedule doesn’t include the gigs and performances in experimental music venues and clubs scattered across the calendar and from Melbourne to London. To cap off 2012, Fusinato heads to Brooklyn to settle into a six-month Australia Council and Anne & Gordon Samstag ISCP Residency.

For an artist who is, like his work, so well-travelled, it’s surprising to learn that this residency will be Fusinato’s first opportunity for a long-term immersion in an experimental art and music scene that one might assume, with its heritage of political punk and no-wave anarchism, would be like a second home to him. “I haven’t been to New York in 10 years and back then it was for a matter of only weeks,” he admits, then straight away acknowledges that what lures him there is not so much the cultural capital of its above ground monuments and collections but the volatile prospects of its underground artistic communities. Not that the residency is without strategic aims. We can expect three new LPs of his noise music (one to be released in New York, the others in the United Kingdom and Italy), a book developed from his survey show, and new work for his next solo show at Anna Schwartz Gallery in late 2013. And, as with the 2012 schedule, this doesn’t include the gigs.

Edward Colless

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