Subjektpositionierung in Morgan Fishers Filmen

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Positioning the Subject in Morgan Fisher’s Films Many of Morgan Fisher’s films examine the process of their own making. This lecture, however, will raise the question of how the “artistic subject” positions himself in the process of production, and on which model of artistic productivity Fisher’s films are based. As Fisher has emphasized on more than one occasion, his works are about finding ways to avoid having to compose. The [...] implementation of this anti-expressive artistic practice in his films relies on two exemplary methods: the ready-made and the found-footage film. The found objects in "Phi Phenomenon" and "The Wilkinson Household Fire Alarm" are still located on the profilmic side (an industrially manufactured clock and an alarm bell, respectively, both shown in a single uninterrupted shot); in "Standard Gauge" […] by contrast, it is the footage itself that is found. Yet the practice of found-footage filmmaking is only one possible way of eliminating any trace of the artist within the product. Fisher’s Expanded Cinema performances represent another variant: the act of realization is delegated, by means of precise instructions, to the projectionist ("Projection Instructions") or a cameraman ("Screening Room").

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Beyond the Frame: How and Why (Symposium)

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