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Tag: Louise Naunton Morgan
 

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abstrakt Abstrakt: Louise Naunton Morgan

Louise Naunton Morgan: The Human Printer, 2008
Various sizes, felt tip on tracing paper

As “The Human Printer”, Louise Morgan offers her services of ‘printing’ images manually. In the same process as for offset printing, the motifs  are separated as CMYK halftones. These grids are then, dot by dot, meticulously transferred onto paper by hand. The motifs dissolve into a coarse technical structure with a washed-out quality that reminds of the approaches to representation invented by pointillists.

Morgan’s indifference toward the motifs that are ordered bespeaks a democratic image regime in her work, which is otherwise encountered only in the production lines of industrial photographic laboratories. At the same time, she makes a new case for technical image production in art, which has been discussed ever since Warhol’s Factory and Benjamin’s ‘The Work of Art in the Age of Mechanical Reproduction’.

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This is the first in a series of posts about the exhibition “abstrakt Abstrakt – The Systemized World”, which was part of the recent NODE10 festival in Frankfurt, Germany. The exhibition was curated by Eno Henze and Marius Watz to explore the use of abstract systems as artistic strategy and focus of aesthetic investigation.

This post consists of the curator text by Eno Henze. It will be followed by a series of posts describing all the works in the exhibition.

abstrakt Abstrakt – The Systemized World
NODE10 – Forum for Digital Arts
Frankfurter Kunstverein, Nov. 15-20, 2010

Artists: Ralf Baecker, FIELD, Ben Fry, Leander Herzog, Robert Hodgin, Thilo Kraft, Brandon Morse, Louise Naunton Morgan, John Powers, Patrick Raddatz, SOFTlab, Jorinde Voigt, Zimoun

Curator text by Eno Henze

The way of the world is increasingly controlled by relations and conditions that reside on an abstract plane. Cause and motivation for many events remain secret, because they trace back to invisible sets of rules that permeate our society and guarantee its functioning.

The two complementing events of the festival, exhibition and symposium, seek to analyze the nature and effect of such systems of abstraction. The exhibition draws upon artworks as visual evidence for the changing conditions of production in an abstract world. The symposium approaches the topic from a more theoretical perspective, facilitated by contributions from economists, scientists, artists and philosophers.

At first, abstraction appears as a method to contain certain properties of the world in a new medium. Formalized in this manner, these properties can be edited in a completely new way, demonstrating the power of abstraction as a productive tool. By these means the things of reality become transformable in an unprecedented way. This also implies a reversion of causality: the motivation for ‘real’ events now resides in an abstract place, in a certain constellation of values of the formalizing medium.

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