http://catalogue.montevideo.nl/art_play.php?id=417
"In “Sorry Mister” 1974, Rosenbach is in half profile, and all that is visible are Ulrike Rosenbach’s thighs. Accompanied by Brenda Lee’s pop song of the same title "Sorry, Mister", the artist is beating the time on her right thigh with her hand. As Lee is singing of refused love and of a man leaving, the artist, unmoved, keeps on striking the same spot on her leg until there is first a red mark and then a dark bruise. This beating of the artist’s body also is fitting into the endurance theme of pain and how they are pushing through the pain to portray a larger issue. The rhythm of the song is reinforced, painfully, by the loud smacking of her hand on her bare skin. By this controlled yet aggressive rhythmic beating, Rosenbach contrasts the gentle and sentimental sound of the singer’s voice.
The combination of psychological and physical injury allows both the suggestion of emotional pain that it is trying to illustrate, and the idea that the self-aggression expressed in the act of beating has found an outlet in parallel with Brenda Lee’s self-accusation. Her "I am sorry, so sorry" requires a dramatic component and reveals at the same time how the separation is played down in pop music which also covers up and softens the normal feelings of anger, rage, or mutual actual hurt through its blues-type calmness.
As this video goes on the meaning becomes clear. A society bred in a consumer world and in consumer goods. The body of the woman is condensed exclusively in to this single detail of the thighs which can be perceived as erotic. This frontal view can frustrate the expectation of the viewer in a way that the camera doesn’t act like an extension of the viewers eye that would freely wander all over the body." (Lilian Haberer)
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