DESASTRES

Approaching DESASTRES requires an open mind, ready to engage with an unconventional sensory experience. Given its experimental nature, there's no singular 'right' way to watch. It's recommended to allow yourself to be immersed in the synchronised sound and image, embracing the chaotic and unpredictable elements. Consider spending time with the installation, as its durational aspect means it is constantly evolving, offering a unique encounter each time.

The 'durational' nature of DESASTRES, spanning 200 days, means the artwork is in constant flux. It's not a static piece but a living, evolving entity. Viewers can experience it at different times, potentially witnessing shifts in the improvisational soundscapes and the resulting visual deluge. This creates an opportunity for repeated engagement, allowing for a deeper immersion and a more nuanced understanding of the performance's unfolding nature over its extended run.

The 'slabs of noise, saturated feedback and discordant intensities' are central to DESASTRES' artistic intent. By using the electric guitar as a signal generator and employing mass amplification, the artist aims to create a powerful, often challenging, sonic environment. This is not about conventional musicality but about exploring raw sound, feedback loops, and abrasive textures as a direct conduit for an unfiltered, intense sensory experience that drives the visual component.

The imagery in DESASTRES is intentionally chaotic and disconnected. It's generated through a stream of words fed into open online searches, resulting in a 'morass of disparate and randomly generated images.' The artist has stated there is no overarching theme guiding the visual selection. This approach creates a visual landscape that is unpredictable, often overwhelming, and directly mirrors the abrasive, improvisational sonic elements of the performance.

DESASTRES is presented as part of the Biennale. Specific locations and dates for Australian exhibitions would typically be found on the official Biennale website or through associated arts organisations. Given its durational nature, it's important to check the opening hours and any specific viewing requirements for the installation during its exhibition period to ensure you can experience the full 200-day performance.

DESASTRES transcends the boundaries of traditional filmmaking. It's best understood as an experimental noise project and a durational solo performance functioning as an installation. While it involves synchronised sound and image, its core is live improvisation and a process-driven exploration of chaotic data. It's not a narrative film with characters or a conventional plot, but rather an immersive environment designed to elicit a visceral response from the viewer.

DESASTRES is an experimental durational performance presented as an installation. The artist, Fusinato, uses an electric guitar as a signal generator, feeding it into mass amplification to create improvised slabs of noise, feedback, and discordant sounds. This sonic output is directly synchronised with a deluge of randomly generated images displayed on a large LED wall, sourced from open online searches. The performance unfolds over the entire duration of the Biennale, offering a unique, evolving sensory experience.