Giovanna del Sarto
Can you tell us about how you started APFAR? What was it about refugees that interested you?
A Polaroid for a Refugee (APfaR) was born from my curiosity to understand. Nothing more and nothing less. The refugee crisis was a topic treated by all the media, with differing opinions. I still remember when the UK newspaper Daily Mail, in the summer of 2015, published an article with photos that portrayed families and individuals in public gardens and along the edges of the streets with their tents, on Kos Island, Greece. They were depicted eating, drinking or simply sleeping. They were doing everything we usually do. The only difference was that they did it on the streets and in public parks. The photos were accompanied by an article whose central news was about British tourists, who after having paid for their summer vacation were surrounded by people with, perhaps, bad intentions. The exodus from Syria, and consequently from other countries, caused instability in Europe. There have always been migratory flows, just think of Lampedusa. But for the first time, we were facing mass migratory flows. What could I do? I could have carried on documenting myself from home or I could have been an active part of clarifying what was really going on. The political and social situation had convinced me to go. What convinced me then to volunteer and use instant film?
In the 1990s, the Balkan war was knocking on the doors of Italy. I was 20 years old and I was neither active politically nor socially. I lived that war as something that did not belong to me. I did nothing and I never forgot it. So, when this new crisis knocked on doors, I decided to participate. My aim was also to volunteer with small organizations, to be able to understand and be close to the people involved.
On all of these occasions, I had my Polaroid Land Camera with me – and it was during my first trip that the A Polaroid for a Refugee project was born. It is a project based on the concept of giving – giving something back to the refugees, a moment of their life and journey captured forever. In fact, everyone I photographed has a Polaroid picture now.
Do the people you give photos to already have family photos? What kind of possessions are they traveling with when they are forced to flee their homes?
They might have photos on their phones. Possession-wise I noticed that some of the people had some bags with them or nothing at all. It all depends on how they managed to travel. For example, people who I witnessed coming on a dingy from Turkey had a small plastic bag with their main possessions; others who managed to legally pass through the Hungarian border had all their possessions with them but very often they would have all their belongings confiscated by the Hungarian authorities before entering the country.
Are there language barriers when you’re meeting people who are refugees?
Yes, of course. During my trips, I managed to develop different ways to communicate.
Being Italian, gesticulating is my second nature and it helps a lot. Once on Lesbos Island an Afghan grandma and I, despite not sharing a language, managed to have a full conversation about her daughter being in the local hospital after delivering a baby by cesarean to her disappointment.
Other times, I ask some refugee people who can speak English to be my assistant for a day. That is really nice because you share part of your work with someone who is usually the subject of it.
Which countries have you traveled to giving away photos and have you found any commonalities between refugees from different countries?
So far, I concentrated on the Balkan route countries: Serbia (Belgrade and Presevo); Greece (Athens, Idomeni, Chios and Lesvos Islands) and Northern Europe: Germany, Switzerland, Austria and France.
Refugees from different countries have the same goal: finding a place to start a new life. Too often, we forget about their real motivation in coming to Europe. We only see individuals who are settling down and we do not even bother to get to know their stories.
What has been some of your most memorable experiences sharing your photographs?
To be thanked by the people I portrayed and to be friends with the ones I went back to see in Europe. I love the fact that their lives are entwining with mine and viceversa.
How has this project impacted your own life?
It is a project that gently gets under your skin. It provokes a lot self-assessment.
I constantly question myself on the validity of photography as a political, social tool and the thin line between exploitation and the aiding of the subject.
I do not think it is an easy topic to deal with if you get emotionally attached to people and situations.
Did you have any preconceived notions about refugees that may have changed in the course of doing this project?
Of course, I had and I am sure I still have. That’s the beauty of being a social photographer: being prepared to dismantle your beliefs and embrace new ones.
Since I started the second part of the project, visiting the people in their new adoptive country, I had to reset my belief that once they arrived at their destination everything would slow down and a new life would begin.
There is sometimes a misconception that, once people reach their ‘destination’, everything will be magically healed. I met people along the way who didn’t have any money, food or means to carry on their journeys, yet somehow they managed to ‘make it’. At what cost, though? Some of the people I have revisited are struggling to come to terms with the memories and legacy of their journeys, and their new lives and circumstances.
Witnessing both situations has led me to realize how far away I am from truly understanding the experiences that these people have gone through.
If people wanted to donate to APFAR how can they do so?
As APfaR is entirely self-financed, a little help would be highly appreciated 🙂
There are different ways to support the project and its charitable aspect.
As part of APfaR, I create limited edition hand embroidered postcards whose profits go to a charity I volunteered with. You can buy them from The Photographer’s Gallery bookstore or directly from me.
You can support the self-publication of my APfaR book. It will be a unique piece which, hopefully, will reflect the family album feeling that this beautiful project has and my wish to create an intimate and approachable document which would go beyond any stereotypes related to any refugee crisis.
If you are interested in sponsoring any aspect of ApfaR pls, e-mail me at email@example.com