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  • Poetry
    A medley of artwork from Le braccianti di Euripide collective

    The dolls have pronounced it – Poems by Mohamed Kheder

    Ukrainian Poetry in La Macchina Sognante – In Solidarity with the People of Ukraine

    Ukrainian Poetry in La Macchina Sognante – In Solidarity with the People of Ukraine

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    Three Poems from “The Bastard and the Bishop” – Gerald Fleming

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    God appeared at midnight: Three poems by Bitasta Ghoshal

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    I dream of the tree of silence: Poems by Rafael Romero

    Always another curtain  to draw open: Five poems by Helen Wickes

    Always another curtain to draw open: Five poems by Helen Wickes

  • Fiction
    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    FLORAL PRINT FLAT SHOES – Lucia Cupertino

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The Red Bananas – N. Annadurai

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    THE CULPRIT – Gourahari Das

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    A very different story (Part I) – Nandini Sahu

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    After Breaking News – Mojaffor Hossain

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

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    Let the Rivers Speak! – Lucia Cupertino and the Poetry of the Global Souths, by  Pina Piccolo

    Fanta Blackcurrant – Makena Onjerika

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    Lino-printing fairy tales over Constitutions- The artwork of Mihaela Šuman

    Layers of overlap: theatre, cinema, memory, imagination – Farah Ahamed

    Architectures of Delusion –  Steve Salaita

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  • Interviews & reviews
    The Power of the Female Gaze: On Maria Antonietta Scarpari’s Artistic Practice – Camilla Boemio

    The Power of the Female Gaze: On Maria Antonietta Scarpari’s Artistic Practice – Camilla Boemio

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    M’aidez, May Day – Pina Piccolo

    M’aidez, May Day – Pina Piccolo

    Desperately seeking Marion: A Review of ” Women, Antifascism and Mussolini’s Italy – The Life of Marion Cave Rosselli”, by Isabelle Richet

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    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    Tim Ingold’s “Correspondences” – Giuseppe Ferrara

    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

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    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

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    Skjelv Du På Handa, Vladimir? / Does Your Hand Shake, Vladimir? –  Transnational Solidarity Project (Odveig Klyve)

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    Hunting for images in Guatemala City: Alvaro Sánchez interviewed by Pina Piccolo

    The malice of desires feeds the power of my imagination – Poems by Mubeen Kishany

    Alahor in Granata: A Forgotten Opera by Donizetti – Fawzi Karim

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    EARTH ANTHEM : A eulogy of the Earth, its beauty, its biodiversity – Abhay K.

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  • News
    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    RUCKSACK – GLOBAL POETRY PATCHWORK PROJECT

    REFUGEE TALES July 3-5:  Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    REFUGEE TALES July 3-5: Register for a Walk In Solidarity with Refugees, Asylum Seekers and Detainees

    IL BIANCO E IL NERO – LE PAROLE PER DIRLO, Conference Milan Sept. 7

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    OPEN POEM TO THE CURATORS OF THE 58th VENICE BIENNALE  FROM THE GHOSTS OF THAT RELIC YOU SHOULD NOT DARE CALL “OUR BOAT” (Pina Piccolo)

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    Crowdfunding for [DI]SCORDARE project

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Home Out of bounds Interviews and reviews

The Gateway to Europe: The Story of an Invisible Tragedy Taking Place on Our Borders, by Vincenzo Bagnoli

English translation by Pina Piccolo.

April 29, 2021
in Interviews and reviews, Out of bounds, The dreaming machine n 8
The Gateway to Europe: The Story of an Invisible Tragedy Taking Place on Our Borders, by Vincenzo Bagnoli
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Late modernity and postmodernity, between Adorno and Baudrillard, have accustomed us to think that we can see everything. The electronic media illuminate the earth before our very eyes, and we are convinced we can admire it all from above, from a wonderful equidistance. Only in recent times are people beginning to understand that this is not the case: what remains hidden behind the screens (the etymology of the word points more clearly to its function than one would think) is perhaps greater than what they show. While we delude ourselves that we can see on the other side of the world, things that are very close to us, as like what is happening just outside one of our own regional, albeit outlier capitals like Trieste, remain nevertheless invisible to us.

But do we, at least, “know that we don’t know”? This Socratic question is a very timely one for us in Italy today. We believe we are informed about one of the greatest tragedies that humanity is experiencing, stemming from the unfortunate history of European modernity enmeshed as it is  in  imperialism and colonialism, the exploitation of people and the environment, ecological disaster and climate change. We believe that the significance of mass migration can be conveyed through media spotlights and silent, yet very visible symbols, such as Trump‘s wall. But, actually,  these stories and emblems do nothing else but elicit our dismay, as we hang halfway between allegorical “shipwreck complete with spectator” and “invasions”. These narrations and recitations of cold statistics tell us nothing about the people who experience those whirlpool directly. They end up inevitably suppressing those phenomena from our conscience. We don’t even see what these kinds of migrations really mean for humans. And our failure to see leads us to ignoring it, rather than to realize what we don’t know.

The Gateway to Europe. The Italian border of the Balkan route (Marietti 1820, “i Rèfoli Plus” series) by director Mauro Caputo and journalist Donatella Ferrario tries to recount this tragedy by  focusing on the Balkan route, one of the lesser-known gateways of these migrations. Because of its invisibility, the hidden corridor called the Balkan Route is used by 800,000 people fleeing to Europe every year, through that network of borders bloodied by so many wars, some ancient some more recent. At the same time, this set of borders and roads is also temporary and artificial, as travel writers like Luigi Nacci and Paolo Rumiz have told so well in their books.  

The door of Europe is the first in the Marietti e-book catalog to offer a film to accompany the text, in addition to the photography reportage. To call it a multimedia book would only slap on it a trending marketing label, while what the reader is actually is offered is a valuable example of so-called expanded literature, perhaps the future of electronic text (and not only). It sets off a fruitful dialogue of different languages, each with its own semiotic specificity, on the same theme.

This effective interplay of prose and image, of documentary and reportage, is a successful attempt to show the invisible, to say the unspeakable. In some ways, contemporary migrations present the same problem faced by the witnesses of the Holocaust: how to tell the tragedy of millions of people who had been made to disappear, literally evaporated? How to avoid making their numbers a”mere statistics”, but rather make the weight of their absence felt? Alongside effective symbolic representations, perhaps the most impactful images were those that documented the only material traces left by the deportees’ passage on this earth, i.e.,  the piles of clothes, shoes, hair and other personal objects.

Heavy clothes  such as gloves and boots used by the migrants during the cold months are cast off in the lands they cross (photo courtesy of VOX produzioni S.r.l.)

 

Caputo chooses the same artistic route, following the paths of the contemporary erased and invisibles, so as to offer the most concrete testimony of a silent exodus, of a human tragedy that has been forgotten because it is hidden from the camera lenses. He also provides a re-reading of  the same numbers in a different key: knowing that 1 out of 97 people in the world is on the run affects us differently than being given a larger but more abstract total. It helps create a relation between those people and us. Though their ‘erasure’ may be voluntary, they are nevertheless victimized by it, as they are forced to hide, escape, in order not to be caught and sent back; they  must abandon their past and identity just like everything they have already left behind (origins, family, country, affections) to look for a future.

This journey across the borders of many countries, from Turkey to Slovenia, up at the gates of Italy by way of Trieste (starting point for their real destinations in other European countries) is called the game. But it is not a game at all – it is a long and tiring journey, full of difficulties, between the pitfalls of cold and rough terrain, and the atrocities  and often inhumane conditions they have to face in the camps (which may even be fatal).

Medicines cast off near the Italian border by the migrants, photo courtesy of VOX Produzioni S.r.l..

 

Those who travel along the Balkan Route come from the farthest places on the planet and Caputo’s work documents how the situation is far more vast and dramatic than the one painted  by official statistics. Upon  arriving at the gates of Trieste,  they leave in the last woods what little they managed to bring with them: shoes worn out by the journey, torn and worn clothes, tents and heavy clothing needed to survive in the open,  as well as children’s toys, medicines, razors and toothbrushes. And most of all their documents: the last tribute that must be paid on the threshold of a hope for the future, is that of one’s own identity, to sever the link with a before  to which they cannot return.

 

The photo shows a wall covered with documents and papers thrown away by migrants recovered by the crew filming the documentary The gateway to Europe. Courtesy of VOX Produzioni S.r.l.

 

This story appeared in Italian  on April 27ì, in the Treccani magazine  The original story can be read here.

Sory and images, courtesy of Treccani magazine.

 

Vincenzo Bagnoli:  Born in Bologna (1967), he was one of the founders of «Versodove. Literature magazine ». He recently published Offscapes. Beyond the Limits of Urban Landscapes (Trafika Europe, 2016) and Soundscapes. 33 laps extended play (Literary Correspondence, 2018); (GIUDA editions, 2016); he has also collaborated on some documentaries of Home Movies and Mammutfilm.

 

Tags: Balkan RouteDonatella FerrarioLuigu NacciMarietti e-bookMauro CaputoPaolo RumizTreccaniVincenzo Bagnoli

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