UNTITLED: THE ASYLUM SEEKER
UNTITLED: The Asylum Seeker
Curated by Caterina Lorenzetti
Following the EU-Turkey agreement, new border barriers in the Balkans and an agreement between Italy and Libya, the number of arrivals decreased considerably compared to the peak of 2015-16. But tens of thousands of people continue to flee their homes escaping poverty, natural disasters, religious or political persecution and war.
Some of them are seeking asylum or international protection, they all run away from something: wars, violence, persecution, natural disasters, extreme poverty, epidemics. All have hope in their hearts — Europe, a continent that has unfortunately seen an increasing anti-immigration feeling.
UNTITLED: The Asylum Seeker is an international immersive artistic installation born from my personal meeting with Tony (20), Ebenezer (17), Cletus (38), Lucky (35), Lovely (35), Joe (27), Abou ( 15), Lending (15), Lassana (17), Abdul (28), Ismaël (16), Naby (15), Adama (16), Osman (37), Tariq (28) and Ismail (36), a group of friends who arrived in Italy during the summer 2017 from Nigeria, Ghana, Sudan, Senegal, Gambia, Costa Ivoriana, Guinea Conakry and from Afghanistan, some of whom I met in Paris at the beginning of 2018, respectively, looking for asylum or international protection.
Everyone, except for the Afghans who crossed the Balkans, passed the Libyan imprisonment. All, without exception, are victims of sexual harassment, extreme physical and psychological violence and subjected to torture and loss of third parties, family and friends.
Developed around an installation of images, video and audio, the project intends to leave aside the migration statistics for a moment, in a humble and personal attempt to give a human response to this humanitarian crisis.
UNTITLED: The Asylum Seeker aims to connect the public with the stories of the people I met and photographed, creating a platform to ensure that their voices, their dreams, their fears and their hopes are heard.
Caterina Lorenzetti, UNTITLED: The Asylum Seeker, 2018