Rocco Rorandelli
Exhibition, Tearsheet
2018
Rocco Rorandelli
Exhibition, Tearsheet
2018
Refugees just arrived with busses from Athens wait in line to enter the temporary camp on the border between Greece and Macedonia
With “Traces” I present three bodies of work exploring distinct yet interrelated facets of migration: the series “Refugee Trail”, (2015-2016) documents the mass movement of refugees along the Balkan Route during the opening of the so-called “humanitarian corridor.” Over 1 million refugees, primarily fleeing war-torn Syria, traveled to Europe, with many aiming to reach Germany and Northern Europe. Using aerial photography, this work captures migration as a universal, human phenomenon rather than focusing on individual stories. The photographs depict the vast scale of displacement and the resilience of those undertaking this perilous journey. Zooming into the images reveals poignant details: children’s smiles amidst hardship, couples holding hands in rare moments of intimacy, and the compassion of volunteers aiding strangers. With the body of work “Topography of Hospitality” (2018), I explore the architecture and geography of refugee and labor camps across Europe, reflecting on their role as transient or semi-permanent spaces of exclusion. Photographed in Greece, Bosnia, and Italy, these camps—whether informal settlements or state-sanctioned shelters—highlight the contradictions of Europe’s migration policies. While migrants provide essential labor, they are often relegated to isolated, ghettoized spaces, far removed from local communities. Finally, the series “Traces of Identity” (2018) focuses on personal belongings found with the bodies of unidentified migrants who perished attempting to cross the Evros River, a natural border between Turkey and Greece. Since 1993, over 35,000 migrants have died on their journey to Europe, with the Evros claiming over 1,300 lives. The forensic team at Alexandroupoli General Hospital attempts to identify these victims through the items recovered: weathered wallets, torn photographs, and personal trinkets. These objects, presented in a still-life format, transform mundane items into poignant symbols of loss and resilience. They are the silent witnesses to lives cut short, forcing viewers to confront the tragic realities of migration.
Preševo, Serbia. Refugees arrive at a police checkpoint on the border between Serbia and Macedonia
No Man’s Land, Serbia. Refugees walk through the no man's land separating Serbia and Macedonia
Tabanovce, Macedonia. Refugees make their way towards Serbia
Spielfeld, Austria. Refugees rest in a camp set up by the Austrian army near the border with Slovenia
Spielfeld, Austria. A TV crew films at a camp on the Slovenian border, where refugees are registered before being sent to various locations across Austria on their way to Germany.
Testa dell’Acqua, Italy. The former government shelter for migrant laborers is now unofficially occupied by about 130 people, with no running water, electricity, or waste collection.
San Ferdinando, Italy. The largest informal migrant camp in Southern Italy, located 5 km from Rosarno, hosts around 2,000 migrant laborers, mainly from Africa. The camp, partially demolished in 2019, relocated a few hundred meters away. Workers are primarily employed in citrus picking, often informally. Every year, fires caused by gas or electric stoves result in fatalities.
Rosarno, Italy. The official tent camp for migrant laborers houses about 800 people. It provides bathrooms, running water, and electricity, but its isolated location has been criticized for hindering integration with the local community.
San Ferdinando, Italy. A camp built by the Ministry of Internal Affairs to house 500 laborers
Miljkovici, Bosnia and Herzegovina. Tents from an informal migrant camp near the Croatian border, where migrants attempt to cross into Croatia and Europe. Many report violent encounters with Croatian police during their attempts.
Velika Kladuša, Bosnia and Herzegovina. Empty tents in the IOM camp located in the town's industrial area, a few kilometers from the Croatian border. Built with EU funds, the camp has been heavily criticized by the Croatian government for its proximity to the border, sheltering migrants attempting to cross into Croatia. Several NGOs denounce the use of violence by Croatian border police.
This rubber bracelet, belonging to body #2514/9/27-C, was the only object found on the corpse.
Dental prostheses belonging to body #1010/27 / 209-8
Two samples of soil found in a small pouch sewn in the inside of the pants of body #3005/6/45-A, a woman of African origin
A small paper with names and numbers belonging to body 1019/25/90-A
A bag of spices belonging to body 2514/9/23-A
A passport photo belonging to body 3005/6/70-A
Shifts, Italian Cultural Center, Marseille Photo Festival, 15 November – 3 December 2018
Refugee camps, BACO Gallery, Bergamo, 21st October – 2nd November 2017
Shifts, Neimester, European Month of Photography, 26th April 2017 – 25th June 2017
The Balkan Route, Slow Travel Fest, Monteriggioni, 18th – 22nd September 2016
The Balkan Route, FSM Gallery, Florence, 10th June – 1st July 2016
Publications on L’Espresso, July 18th 2020
