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