Filmform is the oldest existing organization in Sweden devoted to the promotion, preservation and distribution of film and video art, often engaged as an advisor to museums, galleries, universities and festivals. Our collection includes titles dating from 1924 until today whereof 800 titles in distribution.
The animation is inspired by the after-images that appears on the retina after one has looked into the sun. Löfström’s animations have a clear connection to painting and music, to the psychadelic, the decorative style of the 70’s, modernism’s colour field painting or pure minimalism. This is Löfström´s deliberate flirtation with the history of painting and music culture. The music in Whiteout is composed by the DJ and performance artist Terre Thaemlitz: A-program (BMI), courtesy of Comatonse Recordings.
Born in Sweden 1970. Lives and works in Berlin and Stockholm. Katarina Löfström is a visual artist mainly focusing on video. She was born and raised in Falun, Sweden, where she also attended her first art school.
After receiving a MFA degree at Konstfack, Stockholm in 1997, she decided to further explore the world of the moving image. In doing so, she started working as an Assistant Creative Director for Swedish Commercial Director Jonas Åkerlund. During the two years working for him, she wrote video scripts for Prodigy’s ‘Smack My Bitch Up’, Madonna’s ‘Ray of Light’ and Moby’s ‘007 Theme’, amongst others. During this time she also worked on numerous commercials for the Swedish and international markets. In 2000 she started to direct herself, and has since then worked on commercials for the British, Finnish and Swedish markets. She has been awarded several times in national and international commercial competitions such as Swedish Guldägget, Epica, and Cannes. During this time she also directed and filmed a documentary on the children’s situation in Kenya and Uganda, commissioned by Swedish Unicef in 2001.
After having spent almost three years devoted to commercial projects, she decided to resume her artistic practice. After a brief spell directing a shadow play for Riksteatern, Sweden, she went back to the world of visual arts. The moving image and its possibilities was still the main focus, although the topics and formats would be very different. Since 2000 she has been creating films using the same methods as if working on a pop video i. e. putting image to music. In her own practice, she works with abstractions, trying to boil down her topics to the smallest visual common denominator. For her films Hang Ten Sunset, Whiteout, and Red Light she has used music by Plastikman, Terre Thaemlitz, and E.A.R respectively, with kind permission from the artists. For her last film High Noon she has for the first time created a musical collage herself.
Alongside her films, she is developing a software tool that will turn sounds in a room into visuals. This project is developed in collaboration with Olento, Helsinki.