Cool Trick: The In-Depth Space Illusion in Films by Kane and Flo Jacobs – Ads

Join us in the e-flux showroom on Thursday May 5th at 7:30 PM for Cool Trick: The In-Depth Space Illusion in the Movies by Kane and Flo JacobsAnd Presentation of the work of Kane and Flo Jacobs accompanied by a discussion with the filmmakers.

Tickets are available here.

“Eisenstein said that the strength of film can be found between the shots. Peter Kubelka seeks between the frames of the film. I want to wander between the eyes, challenging the two separate halves of the brain. A whole new play of appearances is possible here,” Ken Jacobs wrote, describing his mini-filmmaking.

This show celebrates Kane and Flo Jacobs’ ongoing fascination with the illusion of space in depth and movement in time that is inherent in the production and perception of moving images. Inspired by the history of abstract painting and the captivity of 19th century photography and early cinema, Ken Jacobs has been researching holographic technology and its effect on viewers’ nervous system for more than five decades. Embracing various forms of film exhibition—from standard screenings to extended cinematic screenings—in the 1950s and 1960s, Jacobs, to paraphrase Amy Tobin, rose from the New York subway to the New York vanguard to become a central figure in experimental American film history and influence for many generations to come. By adapting always new technologies to fit his critique of the aesthetic, ideological, and technological limits that define cinema and the cinematic apparatus itself, Jacobs embraced digital filmmaking in the 1990s, remaining a prolific innovator who continues to test the limits and possibilities of film while applying what he calls “technique of immortality” that allows him to bridge the ninth centuries ten and st.

The program will start in the e-flux examination room with Orchard Street (1955), a poignant image of the bustling business district on Orchard Street in Lower East Side Manhattan that will follow street vendor (2012), her 3D match after 57 years. The show will also showcase Jacobs’ digital explorations of 19th-century holograms, a selection of his recent 3D and flash experiments, and a New York premiere. Tackle richness aligned with other points of view and other challenges for viewers (2022). After the show, she will have a conversation with Kane and Flo Jacobs.

a program

warning: All works in this program except Orchard StreetThey contain pulsating light and should not be seen by people with epilepsy or seizure disorders.

Orchard Street (1955, 27 min)
After I spent two years in the Coast Guard (the draft was in the works), my paycheck was enough to buy a 16mm film camera. I had a script for a movie with actors but initially I needed some experience and a track record and started with a documentary. Economics set a materialistic theme so I moved near Orchard Street in the Lower East Side and chased the few blocks of low-priced stores to spend the summer. No one objected and the young woman who sees me kissing her on the street works in a store. The film could not be sold, although it did not receive a film degree. The big movie that was destined to lead (modern-day Don Quixote) didn’t happen, and instead, went ahead in 7 hours 16mm. A star shining to deathTribute to von Stroheim Greed. (Ken Jacobs)

street vendor (2012, 6 minutes)
The piece documents a New York peddler, taking a brief interaction between a vendor and customer and elongating it into a powerful, throbbing, pulsating contemplation of movement and light. Remind us of the sequence in Orchard StreetFocusing on just one vendor, it abstracts its movement while preserving it in extraordinary detail, while taking its familiar presence to its aesthetic extremes. (Ken Jacobs)

We are charming (2007, 1 minute)
An early holographic image of dancing girls is subject to Eternal Technology, my patented system to create oscillating 3D events seen with one or two eyes. (Ken Jacobs)

Rising Sea of ​​Humanity (2006, 10 minutes)
antique hologram activated; original title. Crowd of people ebb and flow. The Immortality Technique remains irresistible to me, and perhaps defines all my work up to the present. (Ken Jacobs)

Capitalism: child labor (2006, 14 min)
An 18th century promotional stereo image proudly presents an efficient factory organization. What no one has noticed is that the machines are “run” by children. (Ken Jacobs)

upstairs (2010, 16 min)
Our loft in downtown New York for several decades lends itself to dancing. why not? Nailed and glued things, things held by gravity, the camcorder does the work and immortality helps. (Ken Jacobs)

An impromptu selection from the new short works of Kane and Flo Jacobs (about 20 minutes)
It was produced with the help of either Nisi Jacobs and/and Antoine Catala. Often with the help that attracts me. (Ken Jacobs)

Tackle richness aligned with other points of view and other challenges for viewers (2022, 10 minutes)
The Fujifilm 3D camera travels with me, always ready to take pictures. In this very recent work, my assistant Victor Timofey and I have whipped pictures of doing impossible things in life. (Ken Jacobs)

Ken Jacobs He is a major figure in the history of American avant-garde cinema. In the mid-1950s, Jacobs studied painting under Hans Hoffmann, one of the founders of Abstract Expressionism, and at the same time began making films, eventually becoming a major voice in American Underground Film and a member of New American Cinema. Jacobs’ films explore the mechanics of the moving image and the act of viewing itself. He looks at the entire cinematic experience, from production to show. Whether it’s taking archaeological journeys to the dawn of cinema, examining the gaps in new digital technologies, or exploring new opportunities for film performance with his neural magic lamp, Jacobs’ work continues to draw power from the mysteries of human vision to reveal the mechanisms of the illusion of illusion. Screen images, spectral reflections, and social and political implications. Along with over 50 film and video works, he has created a range of shadow plays, 3D films, installations, magical lanterns and film screenings that changed the way we look at and think about the art of motion pictures. The Museum of the Moving Image hosted a full retrospective of Jacobs’ work in 1989, the New York Museum of Modern Art held a partial retrospective in 1996, as did the American House in Paris in 1994 and the Arsenal Theater in Berlin in 1986. He also gave a show in Japan, at the Louvre in Paris, and the Getty Center in Los Angeles, among many other institutions. Jacobs Awards include the Maya Deren Award from the American Film Institute, the Guggenheim Award, and a special Rockefeller Foundation grant. His works are part of the permanent collections at MoMA and Whitney, and have been celebrated in Europe and the United States.

Flo Jacobs She is a well-known film producer, actress and director Ulysses in the subway (2017, with Paul Kaiser and Paul Mark Downey), Mama man (2008) and Nobody wants to know (2003). In collaboration with Ken Jacobs, Flo has produced many of his films and been involved in important avant-garde film projects, including the Millennium Film Workshop that she and Ken founded in 1966.

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