In Meine Verehrung (My Adoration), the edit functions differently - to repeatedly break or stop the gaze. Looking is caught "in the act" and cut off, always at the same point, thereby implying that there is something more to be seen but - as part of the (in this case clearly fetishist) pleasure of looking - that that sight must be permanently withheld. This action of cutting is integral to the subject matter of the film - which thereby remains absent. The rule for Zehetner is not to look, or to keep seeing at bay. Thus the audience is also kept in the dark; the lack of a soundtrack, however, accentuating their participation in the gaze as their breathing along to the film is sutured into the clicking sound of the projector. What the audience see, repeatedly, is shot after shot of various women putting on tights, taking them off, putting on tights then putting on shoes then taking them off. Zehetner appears to be trying to locate or trap something within the frame, that which may be connected to the female, by focusing on the in-between, the things that (for him, perhaps) stand in for femininity. This "fantasy object" is the nothing present in the film, both veiled and produced by its own mode of expression: by withholding that nothing, through this most perfect use of the edit, the artist keeps it in place.

Susan Morris
extract from The 'Blank'