In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...
Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...
China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...
Every Brilliant Eye: Australian Art of the 1990s, Exhibition view at the National Gallery of Victoria. Photo: Tom D Watson. Image courtesy the National Gallery of Victoria.
Art Radar takes a look at some of the highlights from the exhibition featuring more than 100 works and ephemera from the museum's collection and beyond. Every Brilliant Eye: Australian Art of the 1990s, on at the National Gallery of Victoria (NGV) until 1 October 2017, explores diverse cultural phenomena. Ranging from grunge to techno, identity politics to cyborg culture, the exhibition features over 100 works in various media from the NGV Collection. It will also track the development of artist run spaces and collectives from the decade through on loan ephemera.
Marco Fusinato is a sound, performance and visual artist. Blurring the boundaries between these genres, Fusinato has built a reputation for producing dark, energised works. His practice tends to explore the rhetoric of extremism in discourses such as radical politics, art, and music and sound.
Melbourne-based Fusinato's overall aesthetic guarantees intensity in gesture or event. Viewers can often expect to experience intense blinding light, deafening white noise, and other subversive frequencies. For example, in conversation with fluoro about his work in the 2015 56th Venice Biennale—which took the form of an eight-hour improvised noise-guitar performance—Fusinato said, 'I take on the role of a worker. I set my gear up and perform with my back to the audience, uninterrupted, in an attempt to create a massive aural sculpture, using all possible frequencies to provide a physical experience for the audience. Unlike a conventional music performance, where there is a beginning and an end, this goes for so long that it's hard to grasp. You can only remember sections of it, certain passages.'
In Constellations—first presented in 2015 at the Institute of Contemporary Arts Singapore—audiences were invited to forcibly hit the plastered gallery wall with a baseball bat attached to a steel chain. Every strike was amplified at 120 decibels by microphones hidden behind the wall and attached to a PA system. The title refers to the multiple particles released by the burst of energy from each strike, and the parallel qualities of destruction and perfection.
Fusinato's idea of noise as art presents itself as a revolt against linear progression. In his ongoing 'Mass Black Implosion' series (2007–), he uses template scores of avantgarde composers, such as the Greek composer Iannis Xenakis, and overlays them with straight lines from each note to a single coordinate on the page. As a result, a new composition is proposed whereby every note is played in one, singular moment. Embedded in the work is a deep sense of gravity flattening time and linear performance.
Similarly modifying found materials, for 'The Infinitives' (2015), Fusinato selects images from print media of the decisive moment in a riot where the hero wields a rock. Using the latest in commercial print technologies, each image is blown up to the scale of history paintings. In doing so, Fusinato addresses the relationship between mass media and political rhetoric in order to subvert appropriation and radicalism.
Fusinato's work has been presented in many major exhibitions, including Soundings: A Contemporary Score, The Museum of Modern Art (the museum's first major sound exhibition), New York (2013); The Imminence of Poetics, the 30th São Paulo Biennial (2012); Glasgow International (2012); and Sonic Youth etc: Sensational Fix, Malmö Konsthall (2009) amongst others.
New Zealand artist Billy Apple seems to have always been in the right place at the right time. In the early 1960s, he moved from Auckland to London and worked alongside artists who would become leading figures in the Pop Art movement, including David Hockney and Pauline Boty.After that he moved on to New York, and in 1964 he collaborated with Andy...
Auckland Art Fair puts the spotlight on this city as a place to see the best in contemporary art from the Pacific Rim. Dionne Christian asks some of the artists what 'place' means to them — in particular the space they work in.
Photography, objects and antiques come together for the National Gallery of Victoria's, Melbourne, encyclopaedic display Patrick Pound: The Great Exhibition. The New Zealand born artist is fascinated by the process of categorisation, his work suggesting that meaning can be found in the accumulation of items.
Joining Frieze in January 2015 as the Artistic Director for the Americas and Asia, Abby Bangser has brought over 10 years of experience in the art industry (at institutions like the Solomon R. Guggenheim Museum in New York and the Los Angeles County Museum of Art in California) to assist in the global success of the fairs, particularly with...
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.