
During the 1960s, artist Eric Olson embarked on a series of works under the title Optochromi. The vast majority of these were plexiglass objects: most were sculptures although a few are formally closer to paintings. From a cinematic point of view one could describe the Optochromi sculptures as metaphysical colour animations frozen in time – so much so that modern composer Jan Wilhelm Morthenson made his film Interferences (1966), a tribute to 1920s abstraction à la Richter, with the use of Olson’s works. Gösta Werner did something similar five years earlier with Levande färg – only that he mainly circles the sculptures, and contemplates them more than he interacts with them. A respectfully curious distance is always kept.

During the 1960s, artist Eric Olson embarked on a series of works under the title Optochromi. The vast majority of these were plexiglass objects: most were sculptures although a few are formally closer to paintings. From a cinematic point of view one could describe the Optochromi sculptures as metaphysical colour animations frozen in time – so much so that modern composer Jan Wilhelm Morthenson made his film Interferences (1966), a tribute to 1920s abstraction à la Richter, with the use of Olson’s works. Gösta Werner did something similar five years earlier with Levande färg – only that he mainly circles the sculptures, and contemplates them more than he interacts with them. A respectfully curious distance is always kept.
1961-01-01
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6.1A visual montage portrait of our contemporary world dominated by globalized technology and violence.
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8.1A tribute to Chadwick Boseman, celebrating his life and legacy.
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7.7A compilation of over 30 years of private home movie footage shot by Lithuanian-American avant-garde director Jonas Mekas, assembled by Mekas "purely by chance", without concern for chronological order.
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7.0A documentary about the making of David Fincher's 2008 film THE CURIOUS CASE OF BENJAMIN BUTTON. Virtually every element in the evolution of the Fincher's film is documented here, from the project's attachment to numerous other directors during the 1990s, to its shoot in 2006 and 2007 in New Orleans, to its complex, CGI-intensive postproduction process.
6.9A documentary about the life and films of director John Ford.
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7.0A documentary on legendary movie-poster artist Drew Struzan.
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