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Fusinato, Marco - 2015.50

Marco Fusinato

The Infinitive 5 2015
white UV half-tone ink on black aluminium
250 x 125 x 3.3 cm (6 panels); 250 x 750 x 3.3 cm (entire artwork)
Purchased 2015

Marco Fusinato is a Melbourne-based artist and musician who employs a multidisciplinary approach in his practice. His work has taken the form of installation, photographic reproduction, drawing, sculpture, performance and recording. Combining allegorical appropriation with an interest in the intensity of an event or gesture, Fusinato often investigates in his projects opposing tensions, such as between high and underground culture, noise and silence. While regularly exhibiting in gallery and museum contexts, he also performs in the experimental music realm, frequently releasing music-related artefacts on international labels.

Fusinato tends to use existing imagery to create new associations of ideas. He recontextualises original material, allowing the viewer to renegotiate its meaning in a different and often-subversive (and more current) context. From this perspective, his modus operandi could be considered akin to ‘appropriationism’, an aesthetic strategy that emerged in the history of contemporary art since the historical avant-garde movements. Fusinato’s work, however, is more closely aligned to the ‘art of postproduction’, which, according to Nicolas Bourriaud, ‘seems to respond to the proliferating chaos of global culture in the information age, which is characterized by an increase in the supply of works and the art world's annexation of forms ignored or disdained until now’.[1]

Marco Fusinato’s series The Infinitives 2009– consists of a selection of images sourced from international print media over the last ten years. In these images, a youth is portrayed in the decisive moment of a riot, brandishing a rock before throwing it against someone or something. As with baroque paintings, the youth’s movement is frozen at the height of the action to emphasise the dynamism and drama of the composition and its frozen theatricality. Each of the sourced images is later post-produced by Fusinato, enlarged to the scale of history paintings using the latest commercial print technologies available at the moment of the piece’s production.

The Infinitive 5, one of the most dramatic works of the series, is a monumental, white UV halftone ink print, professionally rendered onto black aluminium. Like the other works of this series (which is potentially infinitive, hence the title), the protagonist is in the foreground, occupying a large part of the composition. His face is almost entirely covered by a kefiah, while in the background we can see an urban guerrilla scenario. The where, when and why of the image is unclear. This picture, decontextualised from its original context (a newspaper), gives the portrayed youth an almost heroic look. Yet the image is also imbued with ambiguity and ambivalence. In emphasising the imagery connected with the act, rather than isolating the politics of his gesture, the work raises a number of questions without providing any answers. We don’t know the context or for what reason this young man is so violently protesting. We would like to understand if he is a hero or an antihero, if he is a good or a bad character. We can only look at this scene as a voyeur and nothing else.

Eugenio Viola is Chief Curator at the Museum of Modern Art of Bogotá (MAMBO), Colombia.

[1] Nicholas Bourriaud, Postproduction. Culture as Screenplay: How Art Reprograms the World, Lukas & Sternberg, New York, 2005, p.6.