MASS BLACK IMPLOSION (TREATISE, CORNELIUS CARDEW)
Marco Fusinato
2013,
English
Hardcover,
208 pages (193 b/w ills.) + photograph insert, 219 x 313 mm
25 (signed and numbered)
Published by Rainoff / Sydney / New York
25 (signed and numbered)
Published by Rainoff / Sydney / New York
|
$200
|
Mass Black Implosion (Treatise,
Cornelius Cardew) by Marco Fusinato has been published by Rainoff to coincide
with the exhibition of the same title held at Anna Schwartz Gallery, Melbourne,
9th October – 16th November, 2013.
In his ongoing series Mass Black Implosion (2007–) Marco
Fusinato takes scores by avant-garde composers, drawing lines from every
original note to an arbitrarily chosen point as propositions for new
noise compositions, or moments of extreme consolidation and intensity, as
if every note were played at once.
Mass Black Implosion (Treatise,
Cornelius Cardew) is a large-scale work based on seminal composition
Treatise by the English experimental music composer Cornelius Cardew (1936
– 1981). This canonical work of modern Western music comprises 193 pages of
graphic score: lines, symbols, and various geometric shapes that eschew
conventional musical notation. It has been described as the most
significant graphic score of the Twentieth Century.
This limited hardcover publication has been produced in an
edition of 25 copies (signed and numbered) and presents all 193 parts of this
monumental work by Marco Fusinato. Each score has been reproduced at 65% of its
original size and is accompanied by a loose colour photograph documenting the
installation.
Mass Black Implosion (Treatise,
Cornelius Cardew) will be launched on 8th October, 2013 to coincide with the
exhibition opening at Anna Schwartz Gallery and is available directly from
Rainoff and World Food Books.
Marco Fusinato 'SPECTRAL ARROWS: Rotterdam'
DE PLAYER 2013 / DOB 065 LP - Live
recording. Programmed and produced by DE PLAYER 18 May 2013 at
Groothandelsgebouw, Rotterdam, The Netherlands - recorded by Gerben Kokmeijer - supported by Mondriaan Fund & WORM
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, 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 content themselves 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 Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air.
Groothandelsgebouw, Rotterdam, The Netherlands - recorded by Gerben Kokmeijer - supported by Mondriaan Fund & WORM
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, 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 content themselves 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 Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air.
SPECTRAL ARROWS: Rotterdam presents a
rapidly edited sequence of events from a performance in May 2013: stuttering
live concret, wailing feedback, Xenakis-esque swarms of descending glissandi,
abusive guitar wrangling, walls of harsh static.
Available from http://deplayer.nl/ and all good record stores
Available from http://deplayer.nl/ and all good record stores
Marco Fusinato 'L'Origine/TEMA'
Bocian Records, bcMAF, LP, 2013
Drawing inspiration from the "Action Direct" expanded guitar performances of Masayuki Takayanagi, Fusinato places the guitar at the centre of his work. A few crudely played strings provide the impetus for a long chain of electronics which obliterate the original signal and leaves us with a hyper-kinetic wall of full frequency spectrum noise. Like the piano in David Tudor early 1960's performances of Cage's Variations II, in Fusinato's work, the guitar is the object of a dialectic of simultaneous adulation and annihilation.
This LP presents 5 pieces demonstrating various possibilities of Fusinato's current interface between the guitar and electronics, from rapid-fire cut-ups that mimic the dynamics of classic musique concrète, to slowly building mass projections, in which layers of sound gradually rise to the surface, tussling for space at the top until they reach a near unbearable density. Presented mostly in crisp and detailed fidelity, one piece exploits the recording potential of the iPhone to achieve a harsh room-tone reminiscent of the works of Fusinato's comrade Bruce Russell. L'Origine/TEMA is Fusinato's most advanced work to date, moving beyond the startling juxtapositions of sound and silence found on his Spring Press LP to reach new dynamic complexities, new ambiguities between indeterminacy and intention, new relations between instrumental performance and its effacement.
Continuing the design scheme of his previous LPs, which commandeer art historical images as cover art and mass print media grabs on the reverse, the cover artwork for L'Origine/TEMA is composed of Gustave Courbet's infamous 1866 painting L'Origine du monde.
(–) Francis Plagne
Available from http://bocianrecords.com/releases.html and all good record stores
Bocian Records, bcMAF, LP, 2013
Drawing inspiration from the "Action Direct" expanded guitar performances of Masayuki Takayanagi, Fusinato places the guitar at the centre of his work. A few crudely played strings provide the impetus for a long chain of electronics which obliterate the original signal and leaves us with a hyper-kinetic wall of full frequency spectrum noise. Like the piano in David Tudor early 1960's performances of Cage's Variations II, in Fusinato's work, the guitar is the object of a dialectic of simultaneous adulation and annihilation.
This LP presents 5 pieces demonstrating various possibilities of Fusinato's current interface between the guitar and electronics, from rapid-fire cut-ups that mimic the dynamics of classic musique concrète, to slowly building mass projections, in which layers of sound gradually rise to the surface, tussling for space at the top until they reach a near unbearable density. Presented mostly in crisp and detailed fidelity, one piece exploits the recording potential of the iPhone to achieve a harsh room-tone reminiscent of the works of Fusinato's comrade Bruce Russell. L'Origine/TEMA is Fusinato's most advanced work to date, moving beyond the startling juxtapositions of sound and silence found on his Spring Press LP to reach new dynamic complexities, new ambiguities between indeterminacy and intention, new relations between instrumental performance and its effacement.
Continuing the design scheme of his previous LPs, which commandeer art historical images as cover art and mass print media grabs on the reverse, the cover artwork for L'Origine/TEMA is composed of Gustave Courbet's infamous 1866 painting L'Origine du monde.
(–) Francis Plagne
Available from http://bocianrecords.com/releases.html and all good record stores
(forwarded from Marco Fusinato)
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