Marco Fusinato - exhibition opening, new book and LPs


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


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. 
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 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 and all good record stores
(forwarded from Marco Fusinato)