+ EXPERIMENTAL HELL (ATMOSPHÆRAM)  Marco Fusinato, 2021. two-pack black urethane ink with reactive catalyst on 5005-H34 milled aluminium. two parts, 150 x 240 cm each.

Experimental Hell

Experimental Hell | Marco Fusinato

I’m writing this during Melbourne’s 6th lockdown.

A few weeks ago I installed my latest exhibition at Anna Schwartz Gallery, it was on the same day that a snap lockdown was announced. So the exhibition exists but no-one can visit. The exhibition is called Experimental Hell (Atmospheræm) and is in three parts. The first part is an LP called Atmospheræm. One side features improvised noise and the other is a detailed study of feedback. The cover art for the LP has the same template used for all my solo releases, an image from art history on the cover and an image from the mass media on the back, in black & white. The two images used for the cover art of Atmosphæram are used as the basis for a series of experimental, improvised large-scale screen prints on aluminium.

 + (ATMOSPHÆRAM) Marco Fusinato, 2021. theblackesthole 004, LP.
 + (ATMOSPHÆRAM) Marco Fusinato 2021. theblackesthole 004, LP.

They make up the second component of the exhibition. The third part is a series of performances in the gallery of noise/feedback over a video projection showing the making of the work. The performances will be announced a few days before, to make sure they’re possible. Simultaneously I’ve been working on a new project for the Australian Pavilion at the Venice Biennale in 2022.

 + EXPERIMENTAL HELL (ATMOSPHÆRAM) Marco Fusinato, 2021. Installation view, Anna Schwartz Gallery.

 + EXPERIMENTAL HELL (ATMOSPHÆRAM) Marco Fusinato, 2021. Installation view, Anna Schwartz Gallery.

There has been no international travel during this period so that means no site visits or on-site production meetings. The majority of the planning and logistics have been done with Zoom meetings. Music performances have been strangled. I’ve had many shows cancelled as venues have had to close indefinitely. I did however get to perform a solo set at Darkmofo in-between lockdowns. The travel exemption came through two days before the show and came with strict guidelines. The performance was part of a series called Terminal Guitar, a series exploring the amplifier as instrument, the guitar as aerial, with a focus on non-standard signal processing and extended technique. I wrote the above a few days ago and since then things have sunk further down the Covid shithole. I was going to write more...

but now...

I couldn’t be fucked.

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