include The Day Was a Scorcher, 2009
A Loft, 2010
to my best discoveries this year's Viennale two new films of well over seventy years avant-garde. Both employ a similar technique that I did not understand to the last: Jacobs assembled frames or very few frames of film in continuous three-dimensional sounding sculptural arrangements. Small displacements and intermediate Schwarzenbilder construct virtual movements, which can also understand it is forced, if one sees through their virtuality has. Often buzzes a plastic world that has become an immobilized, flat pivot.
The Day Was a Scorcher uses photographic or film material (as I've found different information), Jacobs has taken decades ago self: walk a family vacation, his wife and two children by a (European?) City. In the absurd premises received the faces of a pictorial quality, as I have never seen before. The images are a part enthistorisiert radical and enrolled into the digital age, on the other hand, win the close-ups of the faces an expression to evoke the entire history of film at once seems.
A Loft shall be the starting material to the end: The film is based on a few seconds long swing through a rather messy apartment. Jacobs will split the pan and turn the apartment with a flicker, color correction and videographic image turns into a kind of spaceship that gets at every turn a new, shimmering space and a new, semi-material texture.
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