In Deriva (2022) I reflect on the disappearance and death of people who try to reach Europe by sea in precarious boats chartered by the mafias. Through the fragmentation of time and repetition as discursive strategies, I try to encompass something that is in itself incomprehensible: the magnitude of the tragedy.
Through a redundant seascape and an exercise in identification, I wish to expand the time of human loss in order to empathise with them, despite distance and mutual anonymity. I experiment with the possibilities of the technical image to represent in a symbolic and discontinuous way the moments that precede the death of the migrants and their subsequent registration as data of lives lost. The proposal consists of dilating the continuous time of a direct record to create a fragmented time that requires individual perception for its reading and identification.
The confrontation of both times is constructed through a 2-minute video installation of a sea with almost imperceptible waves and 6 pieces that contain the reticulated and chronologically ordered sequence of the 2,880 frames that make up the 2 minutes of the video and that ends with the deep darkness as an evocation of non-life. The choice of this calm seascape alludes to the contemplation of a primordial place of life and death. The 2 minutes symbolise the moments before the drowning of the migrants at sea.
Since 2014, the International Organization for Migration’s Missing Migrants project has been recording the number of people who lose their lives on migratory journeys. To date, more than 50,000 people have died worldwide, 26,325 of them in European waters.