Brian Fuata works in performance through live and mediated forms. He employs various modes of presentation within the framework of structured-improvisation. In Fuata’s works, the act of viewing is a reciprocating action between artist and audience and audience with each other. Fuata employs the ‘blank sheet’ as a recurring motif in his work, which transforms with different contexts into emails, paper, Word.Doc, google.doc, SMS text, concrete, film, and in the case of his 20-minute ghost performances, a white bedsheet.
Major solo works include Placeholder, Enjoy Gallery, Christchurch (2016); A predictive/preparatory performance for a circuit of email and the living, (email and live performance performed at Printed Matter, for Performa Biennial, New York (2015); Untitled (ghost machinery refit/letting go of the sheet), Chisenhale Gallery, London (2015); and nationally: Close to the knives (one to five) email performances, for Endless Circulation, Tarrawarra Biennale, Tarrawarra (2016); FIFO Ghost, Liquid Architecture at the National Gallery Victoria, Melbourne (2015); Apparitional Charlatan...for 24FramesPerSecond, Carriageworks (2016); Privilege (performance), Museum of Contemporary Art Australia, Sydney (2015); Points of Departure: one to three, email performance, Australian Centre for Contemporary Art, Melbourne (2014) He is one half of Wrong Solo a performace collaboration with artist Agatha Gothe-Snape since 2009.
WrongSolo is the collaboration between visual artist Agatha Gothe-Snape and performance artist Brian Fuata. They have exhibited and performed internationally: The Guest House, Gwangju Biennale of Art 2018, Gwangju; Cardinals, with Shane Haseman, Performa Biennial, New York (2015); and nationally: No Dance, Campbelltown Arts Centre (2009); Cruising with Wrong Solo, Museum of Contemporary Art Australia, Sydney (2010); Destine Variations, for Endless Circulation Tarrawarra Biennial, Tarrawarra (2016); I am branch...Gertrude Contemporary, Melbourne (2017); Various titles, Horsham Regional Gallery, Victoria (2017); They have also performed in lecture theatres, domestic spaces and skate parks.
- 'Bicycle wheel' (replica of 1913 original), 1964
- 'Church at Blainville', 1902
- ‘Untitled (Left Arm)’, 1959
- 'Le Surréalisme, même, no. 1’, 1956
- ‘Draft Piston (Piston de courant d'air)’ 1914
- ‘Double-Exposure of Duchamp Smoking a Cigar’, 1968
- ‘Ciné-Sketch: Adam and Eve (Marcel Duchamp and Bronia Perlmutter), 1924
- 'Installation View of Exhibition "First Papers of Surrealism"', 1942
- 'Marcel Duchamp's Installation "Lazy Hardware," Gotham Book Mart, New York', early 1960s
- ‘The King and Queen Surrounded by Swift Nudes’, 1912