DOMUS (2017) — “The block of marble is the most beautiful of all statues” – Carlo Mollino
This is the story of the godlike architect, Carlo Mollino, animated within the desk space of failed architect, Rhayne Vermette. Made, with love on 16mm, 35 and Super 8, this classic tale of Pygmalion investigates intersections between cinema and architecture.
For E. Ackerman, A. Jarnow, and T. Ito.
Logbuch / Visuelle Notiz: Bedruckte Klebefolie (aus’m Copyshop, Kiel Gaarden).
Das Motiv = unser “Geklimper” (Jingle: “Mindexpander Studio”).
Das “Geklimper” wird in dünne Streifen geschnitten – und dann auf den 16mm
Film (farbe/Negativ/Selbstentwickelt) aufgeklebt.
Ken Jacobs (1999): … once you see a film it collects in your mind into a single image also. It’s all there at once, which is what a painting is. It’s all there at once. You can look at a painting and begin going off and seeing it in many different ways, experiencing it in many different ways. And so it does reach out into time, an unfixed time. But in a similar way for me, a film that you’ve seen and really taken into mind does also become an image, a single shape and form. And separates from clock time. I mean, they both seize the mind, or they can seize the mind, and they shape the mind and they become the mind. Cinema is a form of thinking. Painting is a form of thinking. | http://globetrotter.berkeley.edu/people/Jacobs/jacobs-con2.html
Little Stabs at Happiness | Ken Jacobs (1958-60, 16mm, color, 18 min.)