3 minutes
Conceptual overabundance was contrasted with nothing in Nothing, which, as the title promises, was nothing. Two years later, when Schmidt Jr. wanted to produce a film version of Nothing consisting of a whiteness that was gradually and imperceptibly to shift to black, the film lab thought the negative was faulty and stayed with the original, that is: it copied – nothing. (Peter Tscherkassky)
More informationexpand_more
Show crew
keyboard_double_arrow_down