112: 104 consists of the smashed wooden floor of a basketball hall, which pushes together in large-scale fragments and piles up towards the center. In between, stand out the remains of different aluminum poles - a basketball hoop, another fragmented, two wooden team benches lie across.

The rulings of the playing field jump over the fragments of the floor and give the sculpture an almost graphic quality. Like the scoreboard positioned on the side, on which the title of the game can be read, they figure as a memento of the former playing field and its civilized order. It seems as if the agonal structure of the sporting competition, in a moment of physical ecstasy, had overridden all the rules of the game and torn the room with it in an eruptive act of violence.

With 112: 104, Olaf Metzel places a monument to the event structure. The work moves into the perspective of the actor who seeks and celebrates physical ecstasy from the corset of athletic discipline: time and space shoot together in a gesture of transgression, the space of the game is compressed in the event space of the sculpture.