Marina Jacob

I explore hybridity and metamorphosis by introducing elements of drawing into sculptural works and vice versa. For example, I use mark-making inherent to drawing in my sculptural works and turn sculptures into protagonists of my drawings. The sculptures in question can be historical, physically existing works, as well as literary and mythical personages, be it a statue of the Commander, Gargoyles of Notre Dame or a Trojan horse. On the other hand, I use sculptural process and materials for my drawings, including molten and sawn metals, wax and glass.
A deliberately large scale of the works accentuates the materiality of the drawings and their phenomenological aspect of the bodies in space. I’m permanently concerned with materiality and processes, with the intense inner life of the materials. It is on the level of the material imagination that I’m trying to connect with the viewer.
The philosophical ideas of Gaston Bachelard and Bruno Latour’s theories concerning the agency of objects inform these views. A secret life of the substance is full of surprises, sometimes it is able to explode barriers and to short-cut preconceptions in unthinkable ways. The works hesitate on the threshold of knowledge and approaches the answers along the avenues in which rational cognition doesn’t enjoy exclusivity.
In my current work series Geometry of the Echoes I’m “caging the fire” and explore the elements of Fire and Earth. The works have been triggered by the fire of Notre Dame and received further impulses from the rainforest fires and a brand at Krefeld zoo. It is also informed by the research on cultures practicing human sacrifice.
A tension field between religion, science, art and politics is complex and multi-layered. It isn’t a hope for finding answers that motivates my work. It is rather a translation of questions into language of material imagination that interests me. This language is sometimes direct, but oftener more obscure and interesting for a synthetic reading.
The weapon-like industrial coldness of the steel, an emotionally charged sensual warmth of copper, an uncanny feel of the dead paper skins, a vascularity of the red wax, they all are being tested in the alchemist’s retort here. The measurements of the paper “bodies” are as tell telling as their levitation, their seeming entropy immediately reacting to a human presence, to the bodily warmth, movement and position.
Marina Jacob is a German artist based in Frankfurt am Main. Her practice includes sculpture and large format drawing, sometimes with performative elements. marina tests the potential of material imagination as a hybrid space and a catalyst. Her works are in equal measure Informed by philosophical, sociological, musical theories and by experimentation with ethnic crafts. The artist studied Fine art at Chelsea College of Arts, UAL, London and received a MA degree with distinction from Kingston University, Kingston School of Arts, London.



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Vita
Vita

2018- 2019 Kingston University London, MA Art and Space with distinction
2018- Artist
2016-2017 UAL, University of the Arts London, Chelsea college of arts, Graduate Diploma Fine Art
2011-2016- Self-employed, Marina Jacob Design®
2010-2012 Ecole de la Bijouterie-Joaillerie BJOP de la rue du Louvre, Paris
1987-1992 State University for Cinema and Television, Saint-Petersburg

Other educational activities and Projects

August 2018 Workshop “Organic solar futures” organized by Vitra Design Museum/Domaine de Boisbuchet, Lessac, France. Creating of a site-specific work using Organic Photovoltaic thin film technologies
March 2018 Workshop “Glass casting”, CERFAV, Vannes-le-Châtel

October 2016-December 2016 “3D CAD, Rhinoceros”, course at UAL, LCF, London


Exhibitions, Awards

July 2017 Shortlisted for Blanc Canvas, Clyde & Co, London
May 2017 Safehouse, Peckham, London. Group exhibition “Big fridge”
February 2017 Cookhouse, UAL, London. Group exhibition “Hot dairy”
2017 German Design Award, special mention
2015 Gem Empathy Award of the Gemmological Association of Great Britain for design “Crushed Ice”
2012 BJOP Paris
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Exhibitions
scheduled for April 2021, postponed till October 2021 Flower Coordinates, Basis e.V. Project Space, Frankfurt

virtual tour: https://www.jacob-art.org/flower-coordinates-virtual-tour
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Publications and Panel Discussions
April 2021 Animal Question(s) at the Forschungskolleg Humanwissenschaften of the Goethe University Frankfurt
https://www.artists-and-other-animals.org/post/podiumsdiskussion-animal-question-s
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Group Exhibitions
2020 Drawing performance for AteliAIR Frankfurt
May 2019 Bcxhibition Project. Don Juan meets Adam in the shopping centre Wall drawing and Pole drawing performative drawing for Bentall‘s centre Projekt, Kingston upon Thames, UK
May 2017 Safehouse, Peckham, London. Group exhibition “Big fridge”
February 2017 Cookhouse, UAL, London. Group exhibition “Hot dairy”
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Social Media
https://www.instagram.com/marinajacob16/
https://www.facebook.com/MarinaJacobArt
https://www.facebook.com/MJacob5
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Artist Initiative ARTISTS AND OTHER ANIMALS
https://www.artists-and-other-animals.org/

https://www.instagram.com/artists.and.other.animals/
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Awards
2021 Project grant from the Hessische Kulturstiftung for the project [the] Y Animal
2020 Project grant from the Hessische Kulturstiftung for Flower Coordinates
2015 Gem empathy design award of the Royal Gemmological Association of Great Britain
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Residencies
2020 Public Art funded residency in Örebro county, Sweden (postponed to 2022 due to Covid)
Music of your life Part 2 Performance. Stainless steel, mild steel, acrylic, glass, paint.
Marina Jacob
Extraterrestres
Marina Jacob
Something to lose. Ceramic, glaze.
Marina Jacob
Where the heart beats
Inspired by Milan Kundera's "The unbearable lightness of being" the work is a weighty material meditation on the notions of truth, value and the nature of forces giving shape to the sketch of the individual life.Mild steel, acrylic.
Marina Jacob, Metal, Plastics
The Bell. Stainless steel, mild steel, glas, copper, textile.
Marina Jacob
Brainwashing Machine
Marina Jacob
IOOI
Reflection on the nature of the Self and its relation to the Other informed by existentialist and Buddhist approaches.
Marina Jacob, Plastics, Light
Either/Or
Mild steel
Marina Jacob, Metal
Geormetries of the echoes. Fragment
eometries of the echoes Installation view and fragment cast glass, mild steel, copper, wax, wall fragments, ink, pencil, gouache on paper, 250x250x600cm full size, 2019 Triggered by the fire of Notre Dame Explores material imagination and element of fire through the lens of the philosophical works by Gaston Bachelard. Concerned with the role of the faith and imagination A „Fire“ series of works dealing with the history of deaths by burning on stake, of the demolition of Russian churches, of the rainforest fires and the fire in Krefeld zoo
Marina Jacob, Metal, Steel
The inside of milk is black
Materlial Imagination. Memory.
Marina Jacob
Geometries of the echoes. Fragment
cast glass, mild steel, copper, wax, wall fragments, ink, pencil, gouache on paper Triggered by the fire of Notre Dame Explores material imagination and element of fire through the lens of the philosophical works by Gaston Bachelard. Concerned with the role of the faith and imagination for the meaning making as a key human activity .A „Fire“ series of works dealing with the history of deaths by burning on stake, of the demolition of Russian churches, of the rainforest fires and the fire in Krefeld zoo.
Marina Jacob, Metal, Glass
Thicker than blood I
Installation view tin, steel, glass, aluminum, wax, textile Is blood thicker than water? Does it mean any blood and what are the criteria for exclusion? The work series is a meditation on negative spaces, spaces of exclusion subverting the wisdom of this proverb. Ultimate conflict of the materials is used to indicate the zones of concern. The focus remains on the body and its vulnerability as a common denominator for human and non-human animals. Thicker Than Blood’s axis is depth as a dimension traditionally denied to non-humans. Adverse substances are precariously balanced here, the fear of hybridity is counterbalanced by a hope, a moral alarm set against a predatorial hype. Reversible materials like wax, tin, glass splitters are used in Thicker Than Blood. The materials in question are able to undergo both, metamorphosis and transformation, repeatedly. Experimental techniques of attempt-and-response are being experimented with to allow for unfolding of the agency and memory of the substances. This approach is particularly sensitive to the relation of the body, materials, place and space.
Marina Jacob, Metal, Natural materials
Thicker than blood I
tin, steel, glass, aluminum, wax, textile Thicker Than Blood Series (I to VII) Is blood thicker than water? Does it mean any blood and what are the criteria for exclusion? The work series is a meditation on negative spaces, spaces of exclusion subverting the wisdom of this proverb. Ultimate conflict of the materials is used to indicate the zones of concern. The focus remains on the body and its vulnerability as a common denominator for human and non-human animals. Thicker Than Blood’s axis is depth as a dimension traditionally denied to non-humans. Adverse substances are precariously balanced here, the fear of hybridity is counterbalanced by a hope, a moral alarm set against a predatorial hype. Reversible materials like wax, tin, glass splitters are used in Thicker Than Blood. The materials in question are able to undergo both, metamorphosis and transformation, repeatedly. Experimental techniques of attempt-and-response are being experimented with to allow for unfolding of the agency and memory of the substances. This approach is particularly sensitive to the relation of the body, materials, place and space.
Marina Jacob
Inter[no]face I
textile, steel, tin, aluminum, glass, wax Group of site-specific objects addressing the shifts in the “verticality” of the relationship between humans and their numerous “others”. The work seems to be appropriate to a site, a former Telekom workshop. It benefits from the architectural bleakness of the site. The facelessness of the industrial space connected naturally with the ethical theories denying a face and a gaze to animals. For a French philosopher Emmanuel Levinas, a human face is the only one able of moral appeal. Playing a personal experience off against anthropocentric theories, the artist arranges the objects in liminal spaces, presses them into corners and doors. The shapes and tensions of their parts reflect difficulties and disruptions of the interspecies communication.
Marina Jacob, Metal, Textile
Syncopation II
steel, textile, brass Syncopation is well known to musicians, linguists but also to doctors. In music it occurs when rhythmic accent is placed where it wouldn’t be normally expected. Here it provides for tension and originality. In medicine, however, it designates an unexpected collapse and loss of consciousness. As the title suggests, in this work a potential of the unexpected is celebrated. The series consists of several works developed during the Covid-19 lockdown and are informed by Bruno Latour’s theories. The ideas of the French sociologist concerning non-human agency were successfully applied on the interspecies relationships by the philosopher Vinciane Despret. Her insights gained a new meaning during the pandemic. When zillions of non-human actors enter the stage, when a comfortable verticality is challenged, a new hybrid space emerges. In this case an extreme conflict of materials sets the lens for exploring the new dynamics. Embroidery on steel as a new technique mirrors a coming to terms with the instability of boarders and categories. It has been conceived as a recontextualization of crafts associated with slavery in Russia. Drawing on a large scale proved to be an adequate medium, resonating with the roller-coaster feelings of the confinement.
Marina Jacob, Steel, Textile


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