From Our House to the Summit of Europe: Side B, 2010
In 2009, over the course of six months, the artist Neal Beggs embarked on a walk from his home near Nantes to the summit of Mont Blanc. Clearly, the endeavor was a bit more than a stroll at a distance of 764km and an elevation of 482m traversing paved road and mountain path. In an effort to not duplicate what has by now become a familiar form of contemporary art — walking — the artist decided that he would search for another work, so-to-speak, while he walked. Thus, Beggs made a parallel piece that adds to the discourse rather than simply replicates the long established medium of walking in the name of art as in the work of Richard Long or Hamish Fulton. The film, From Our House to the Summit of Europe (2010), is the result of this endeavor and exists as a ‘two-sided’ piece: Side A and Side B.
Side A is the more difficult path. In terms of visual information, it gives nothing away and never deviates from the artistic formal constraints as set forth in the first few minutes of recording. The first image we see is of the artist’s feet, the camera then slowly moves up towards the forward horizon, it then pans left or right, returns to the horizon, then, descends back to the feet. This remains the constant pattern of view giving the viewer no visual rest, as each frame appears on screen in perpetual movement. The pattern never falters even upon reaching its goal — the summit of Mont Blanc. No pause to take in “the summit of Europe,” for once the camera has returned to the walker’s feet the film stops and without ceremony eclipses to credits.
Side A follows a logic known only to itself, and a rhythm integral to itself and the walker. It becomes addictive, meditative and exhausting. This rhythmic recorder is never seen or heard from, nor understood until one arrives at Side B. For all that is known behind these continuous, monotonous scenes is simply the text given in the title “from our house to the summit of Europe” …
Side B replicates Side A; it as well employs an economy of means yet now includes the introduction of the walker/artist. In Side B the film is interspersed with the artist talking to the camera and providing commentary about the journey. These features contextualise the project, providing a frame for its mobility, as well as providing some answers to the questions that arise from Side A’s perpetuity. Of the two, one could say that Side B is the ‘softer’ side; it is more generous and giving to the viewer. As well, it is Side B that gives voice to its Side A; it documents its mobility.
Neal Beggs
Originally from Northern Ireland, Neal Beggs studied in Sheffield, UK and Glasgow, UK before moving to France where he now lives. His work, often related to mountains, nevertheless maintains a strong connection to the urban and everyday. His practice is firmly routed, as he himself is, in the heady mix of popular, political, secular, religious, virtual and technological culture that shape our time. Neal Beggs is represented by galleries in Brussels and Paris; he exhibits internationally and has work in several public collections.