Oliver Held

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  • Title: Meanwhile-1, Trennung von der restlichen Zeit - disconection of the residual time
  • Videoinstallation 2002
  • Elements: 1 Video on beamer, mobile mechanism, rails, motion detectors
  • Video: DVD
  • Size: depends on presentation room size

Jack Mihan enters an Irish church - his  thumbs hooked behind his belt buckle. He surveys the room without taking of his sunglasses. His movements are extremely slow - like in slow motion. With care he dips his fingers into the stoup and hesitantly crosses himself.

From the altar the sound of an organ appears. Attracted by this sound Mihan, alias Mickey Rourke, moves towards the organ which is placed at the left side of the altar. He takes seat in the first row. The woman at the organ is not satisfied with her playing. She is dressed dowdy, her long blond hair fairly combed. She curses so bashful - you immediately know that she is strictly reared catholic. Angrily she ends her playing  and recognizes someone in the church. As she is blind she can’t see the stranger. Mihan notices her annoyance about the sound of the  organ and praises her playing. Then he gives her advise to  play without registers. The trumpet pipes are out of tune because they are wet. She does  what he says and is rewarded by a perfect organ sound. Her face mirrors happiness and affection and she immediately stands up and leaves the room.

What she doesn’t know is that this appealing man is an IRA terrorist who just murdered a man on the close graveyard. She also doesn’t know that the man has been observed by her uncle, the pastor. This  politely,  sensible  man  wants  to confess his deed in order to silence the pastor’s tongue. He is a cold blooded killer who just decided never to murder again. The described film scene from the movie “A prayer for the dying” by Mike Hodges (1987) staged new in the Fuhrwerkswaage at Cologne.

Jack Mihan or - better said - Mickey Rourke is played by a mobile mechanism in this installation. His “head” is  a video beamer which projects  in  the  direction  Rourke looked  during  the  action  of  the  original scene.  The mechanism passes the same direction in the same time like Rourke in the movie scene.  The beamer projects the described scene but not in the normal time flow; it is destructed. The movie scene is divided into its single frames and they are combined in a chaotic manner. You see 25 frame per second but without a direct and witted coherence in time. However, the  alignment  of these frames are still subject to the optical condition that 25 frames per second appears as a moving image. We see the movie scene in the same time as the original, with the same places but with all places at the same time. A film appears which looks like a  frozen image on one hand and as exploding due to speed on the other.  All  places seem to appear and disappear at the same time. Because of the tardiness of our brain and the rapidness of our eyes we can perceive all camera shots of the scene and all the protagonists at the same time but not being able to separate them by time and space in the usual way.

On its way through the presentation room the mechanism passes six motion detectors. These recall the dialogue of the scene from two DVDs in a chaotic manner.