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Sahara, Eyewitness News, 5 Dec. 2017
Agadez, FRANCE 24, 20 Jun. 2016
Niger, CNN, 4 Dec. 2017
Sahara Desert, CGTN Africa, 19 Apr. 2017
Misurata, La 7, 15 May 2014
Sabratah, FRANCE 24, 8 Dec. 2017
Libyan Coast, ODN, 22 Feb. 2017
Sahara Desert, CNN, 4 Dec. 2017
Niger, The Times of India, 16 Jun. 2015
Mediterranean Sea, BBC News, 19 Jun. 2015
Mediterranean Sea, Repubblica Tv, 14 May 2014
Mediterranean Sea, Askanews, 5 Oct. 2016
Mediterranean Sea, Sky News, 6 Nov. 2017
Mediterranean Sea, ANT1 News, 3 Sept. 2017
Mediterrenan Sea, BBC News 14 Jul. 2017
Mediterranean, Al Jazeera News, 21 Feb. 2017
Mediterranean, Channel 4 News, 11 Jul. 2017
Mediterranean Sea, VICE News, 7 Oct. 2014
Mediterranean Sea, Ethiomedia, 11 Oct. 2013
Mediterranean, VICE News, 11 Mar. 2016
Trapani, PBS NewsHour, 25 Jul. 2016
Lampedusa, RT News, 7 Dec. 2014
Agrigento Harbour, Repubblica TV, 21 Oct. 2013
Mineo, VICE News, 3 Nov. 2017
Lampedusa, Askanews, 8 Nov. 2013
İzmir, La7 Attualità,19 Nov. 2015
Mineo, Repubblica TV, 2 Oct. 2017
Chios, Euronews, 11 Apr. 2017
Macedonian border, BBC News, 18 Feb. 2016
Bělá-Jezová, Radio Free Europe, 6 Nov. 2015
Samos, Fanpage, 28 Oct. 2017
Ceuta border, VICE News, 26 Jan. 2015
Rosarno, VICE News,14 Oct. 2014
Yarl’s Wood, RT News, 27 Feb. 2018
Hautes-Alpes, Euronews, 11 Jan. 2018
Hungarian border, AP News, 5 Mar. 2017

On July 2017 I started to photograph online video-footage and television news about the migrant and refugee exodus towards Europe. The material collected throughout the research covers a period of five years, starting from 2013. Even if we are periodically overexposed by vivid, raw and hyper-defined images and incessant information, most of the time what remains in our mind is blurred, distorted, confused or forgotten. For this reason, I decided to photograph the video-footage through a long exposure (approximately 4’’) in order to return these images to a different form offering the possibility to slow down and reflect on our way of looking/not looking and forgetting. The photographed material was gathered from several media platforms and TV networks to include not only those images that are repeated and rebounded from one source to another but also those that are less frequent and less shown. Thus it seems that there are images that we forget because we are overexposed to them and others that will be forgotten because less displayed.


The photographic mirror reflects, reclaims and diverts the fleeting images developed through the distance imposed by the screen in a way that invites to think about what happened and what was forgotten. Through this appropriation, new narratives, meanings, and readings could emerge, which possibly raise questions about the representation and the perception of the migrant and refugee exodus. The emphasis on image vanishing is a means to reflect on reality and its depiction, on memory and its rarefaction. Appearing through the fog of memories, the photographs become simulacra of our tendency to forget, memorial representations against the veil of oblivion.

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