12.12.2012 Views

tracing mobility: cartography and migration in ... - Trampoline

tracing mobility: cartography and migration in ... - Trampoline

tracing mobility: cartography and migration in ... - Trampoline

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

Go<strong>in</strong>g Nowhere, 1995<br />

10 m<strong>in</strong><br />

Go<strong>in</strong>g Nowhere 2, 2011<br />

video, 6 m<strong>in</strong><br />

Go<strong>in</strong>g Nowhere has developed <strong>in</strong>to a series,<br />

the first piece completed sixteen years<br />

ago, Go<strong>in</strong>g Nowhere (1995), <strong>and</strong> the second<br />

completed just this year, Go<strong>in</strong>g Nowhere<br />

2 (2011). What becomes ironic, as well as<br />

provocative, <strong>in</strong> both pieces is the question:<br />

where is “nowhere”, <strong>and</strong> perhaps more<br />

po<strong>in</strong>tedly, how do I get there?<br />

In Go<strong>in</strong>g Nowhere a figure beg<strong>in</strong>s to walk<br />

away from the camera through a drift<strong>in</strong>g<br />

snowy l<strong>and</strong>scape. Overtime, the figure slowly<br />

dim<strong>in</strong>ishes to a mere black dot aga<strong>in</strong>st the<br />

reflective white screen until f<strong>in</strong>ally disap-<br />

pear<strong>in</strong>g <strong>in</strong>to the snow covered l<strong>and</strong>scape. It<br />

becomes apparent that the camera st<strong>and</strong>s<br />

alone, left to observe the absence of the fig-<br />

ure gone nowhere, which becomes emphatic<br />

as the pass<strong>in</strong>g of time takes precedence.<br />

Clouds pass, birds appear <strong>and</strong> disappear, a<br />

dog barks, the light changes. Several m<strong>in</strong>utes<br />

later the t<strong>in</strong>y little black dot re-emerges on<br />

screen, it is the figure go<strong>in</strong>g nowhere, now<br />

walk<strong>in</strong>g towards the camera from the edge<br />

of the l<strong>and</strong>scape. At its most basic, the film<br />

is a depiction of a figure travel<strong>in</strong>g to the<br />

edge of a l<strong>and</strong>scape <strong>and</strong> back aga<strong>in</strong> yet, to<br />

be sure, the film is more a meditation on the<br />

notion of exist<strong>in</strong>g — of be<strong>in</strong>g here or not<br />

be<strong>in</strong>g here, for does “nowhere”, or “go<strong>in</strong>g<br />

nowhere”, still exist when you walk away?<br />

Another walk through a l<strong>and</strong>scape takes<br />

place <strong>in</strong> Go<strong>in</strong>g Nowhere 2 (2011). Faithfull’s<br />

recent film presents a traveller travers<strong>in</strong>g a<br />

l<strong>and</strong>scape at the bottom of the Adriatic Sea.<br />

The work opens with a figure, dressed <strong>in</strong><br />

jeans <strong>and</strong> a white dress shirt, purposefully<br />

walk<strong>in</strong>g away from the camera <strong>in</strong> the deep<br />

blue sea. Laboriously, he steps through a<br />

l<strong>and</strong>scape of fish, rocks <strong>and</strong> watery light<br />

until he too disappears, here <strong>in</strong>to a murky<br />

blue distance. Every frame captures the<br />

Simon Faithfull<br />

travell<strong>in</strong>g figure on his journey to nowhere,<br />

without a h<strong>in</strong>t of the necessary equipment,<br />

as down below along the sea floor one must<br />

at least have breath <strong>and</strong> gravity. Thus it is<br />

as such that this character journeys through<br />

this parallel universe on the sea floor, go<strong>in</strong>g<br />

nowhere at the bottom of the sea.<br />

28<br />

Simon Faithfull,<br />

0˚00 Navigation, 2010<br />

Go<strong>in</strong>g Nowhere, 1995<br />

Go<strong>in</strong>g Nowhere 2, 2011

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!