An empty abandoned hall. Daylight and street noises penetrate the space through the porous walls. Only the dilapidated, however, still impressively splendid ceiling refers to the history of the location, which once was considered as Detroit’s most famous concert hall.
Now eight cars enter the hall successively and park. As soon as all vehicles come to a stand, silence occurs before the concert starts. The Michigan Theatre - formerly known as Detroit’s most spectacular theatre for concert and film - today is only used as a parking garage. Built in the course of the car-industry’s impetus, then hit and finally shut down by the industry’s economic turbulence the ‘Michigan’ today gets regular visits by one clientele only- namely by cars. This ironic turn is taken up and played on in the video DETROIT OVERTURE. Eight cars give a concert under the application of humming wipers, flickering winkers, engine noises, horns and banging car-doors. The concert takes place without an audience, the current parameters determining the space influence the artwork. Simultaneously the theatre gets revisited as a cultural spot. Therefore, past and present of the specific location are overlapped within the scope of a performative concert setting.
The video-layer establishes it’s own micro-cinema’, which makes the video-viewer pursue the smallest movements of the cars as attractions occurring in the picture and encourages speculations about the respective producers of the individual carsounds. The camera films the scenario in one single shot. The static and distant camera makes the car drivers step into the background and it almost seems as if the cars would develop their own life. The title DETROIT OVERTURE (opening) refers to a starting point. But because the video ends after the Overture part and does not show the continuation of the piece, the question of the following remains open. This fact refers to the city of Detroit to which the prophecy of a general impetus has been made for many years which, up to now, has not arrived.