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Jamie Crew

Brigadoon The End


Brigadoon The End begins

with a shot from Vincente Minnelli’s

Brigadoon (1954). Sitting

in a bar in New York City,

Tommy Albright makes an excited

call to arrange his return

to Scotland, and the scene

fades into an airplane in flight,

and then into a misty Scottish

landscape. A journey of three

thousand miles is depicted in

four seconds, represented by

a model plane behind which

a quivering sky passes. The

aircraft is remarkably still; the

background alone moves, 

meaning the end of the flight

and the beginning can be

reunited seamlessly. The work

turns the clip into a loop, fading

the destination back into

Tommy’s initiating call.

n this loop, the plane never quite disappears, and never quite lands on either side of the

narrative arc. The plane is suspended between America and Scotland, between crisis and resolution.


An airport such as Berlin Tegel

is a place of exchange, of 

strange neutrality, an international liminal space. While the development of Berlin

Brandenburg stalls, the place

is doubly liminal, as its working

life is extended, uncertainly

and indefinitely, and

investment floods in for its

temporary continuation.

In the midst of an economic downturn, such places become

more familiar; progress falters,

and spaces are provisionally

revived, their use extended,

their features repurposed, until

such a time as the onward 

march of development can

continue. Like the looping

structure of Brigadoon The

End, Tegel Airport presents a

non-space of blurred borders

and vague trajectories, its

resolution delayed with an end

always approaching, yet still


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