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"105/7" Pavel Braïla In his film “105/7”, Pavel Brai..la, creates a non-locatable travel situation that passes by the spectators. The film was shot at night from inside train no. 105, carriage 7, and the only things that are visible are passengers in another train that is running on a parallel track, and a train station. Because both trains alternately catch up with each other, one has the impression of an unplanned race as well as that the film is being played forward and backwards. Since the same passengers reappear again and again, one starts speculating about where they are going or who they might be. In the context of migration, trains bear a historical role: As, at the end of the film, the rattle of the train is turned into the purring of the camera, Brai..la evokes a cinematographic archetypical scene. Since its existence, the history of cinematography is haunted by the connection of trains and film. Furthermore, as two forms of “movement”, cinema and migration belong to the same historical context: Industrialization did not only create cinematography, it also brought about labour migration in today’s form; trains have become the most important means of transportation. Brai..la, who in his works is always concerned with the cultural or economical meaning of traversing space, creates an image of the transitory and nonlocal state of migration in this travel film through an unrecognizable interspace. Not least, this relates to Moldavia, where numerous people are forced into labour migration. In the international discourse, however, the reasons for this migration are hardly recognized, hence they are as invisible as the settings in Brai..la’s film. Artist, born, 1971, lives and works in Berlin and Chisinau. |
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