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From its early beginnings in the 1960s, the work of Morgan Fisher (born in 1942 and based in Los Angeles) has revolved around an analysis of “film’s systems“ - its aesthetic conventions, processes of production, and technological conditions. The singular fascination of Fisher’s films results from a surgical precision, laboratory-like assembly and extreme attention to detail that make for a radically subjective, partly autobiographical gesture - marked by a dry sense of humor. Morgan Fisher has long explored the space that segregates art cinema from industrial movie making. The one-minute-thirty-second-long Wilkinson Household Fire Alarm, an eye-blink homage to Marcel Duchamp, is more obviously engaged with conceptualism than with studio manufacturing. What you see is what you hear.
