16 Hours







Dingle screen video 
Date: 2008
Duration: 16 minutes

Kyle Turlunch and  Ope Lori

Exhibition History:

2011 -  Angus-Hughes Gallery, London
2010 - Mostravideo, Experimental and Documentary Films from 1997, Belo Horizonte & Curitiba, Brazil
2009 - MERZDORF Merzbau,
Royal College of Art, London
2009 - Leeds Art Gallery, Leeds


Behind the fictional construct of ’16 Hours’ lies a reality that becomes its driving force, a real moment of potential apocalyptic disaster. The documentary film( 1983 The Brink Of Apocalypse,  2008) explored a crucial point of friction between the Cold War superpowers of Russia and America. The documentary pin pointed this moment of possible catastrophe. Farhid was particularly interested in the voice-over and its use of language which she carefully edited and re-appropriated into the fictional scenarios of ’16 Hours’. This process has the effect of taking an event seemingly out of our control as individuals and refocusing a similar set of situations onto events of the everyday.

There is an apocalyptic theme that runs through this video; its structure is one of fragmentation and visual complexity in which strands of narrative are interwoven throughout the 16 minutes of its duration. These incomplete narrative strands  are instrumental in referring to elements in a society that is in itself fragmenting and collapsing. We are presented with the real and the metaphorical, the actual and the symbolic as for instance documentary footage of prison violence is followed by images of recontextualised public spaces taken over by young skateboarders and ‘graphitiied’ to excess. This act of graphitii  is in itself one of personal protest, a disruption of the state. Holding this collage of images together is the constant reminder of time winding down towards a final moment, that of demolition – the taking down of a structure in place. There is no redemptive possibility put forward here, the video constantly  presents us with sub cultures, communities and groups existing outside the mainstream.  This antagonism  played out in the video’s content is made more visually powerful through the use of material  derived from a wide range of sources and consequently different visual ‘qualities’ that have the effect of unsettling the viewing experience  by creating a sense of agitation set against one of implication. Perhaps time is running out ?