-
info
[we are] neither villains nor illegals, we are international workers
-
info
All the time they swore at us, slapped us, pushed and kicked us all over and hit us with a whip, they covered our eyes and mouths […] they killed my friend because she didn’t have any [relative] to help her and she couldn’t give them a [phone] number, so they shot her twice in the head and they left her bleeding in front of me for three hours to intimidate me […] The place they held me captive is a big, dark, filthy house that smelled bad. The two days I was there I slept on the ground, there were no blankets, and they gave me something to eat only once, hard bread and a bit of water. The men who kidnapped me also stripped me naked and raped me. In that place, I heard the whole time moans, cries and groans of other people. — Salvadoran woman quoted in the 2009 CNDH special report on kidnapping
-
info
All kinds go there, and so many that you have to put up with an old drunk who's falling all over himself and tells you things and you have to put up with it because you're there. You aren't going to slap his face, oh no, how would that look? everyone would throw you out. You put up with it and you just move from that spot […] You are getting out of here, you think, to breathe fresh air. That is what I am telling you. I arrive home and I wish […] but I arrive so tired, in such a bad mood, sometimes disgusted. I sleep, I rest, and on my day off the first thing I do is I get up, I take a shower, and I go for a walk in the park. — anonymous sex worker in Tijuana
-
info
We were eating at Los Compadres, and two guys came in. We could tell they weren’t from here. They looked different. They were kids — 18 to 20 years old. They ordered fifty hamburgers to go. That’s when we figured something was going on, and we decided we’d better get home. — Guadalupe García, retired government worker • Things began to happen in the afternoon. Armed men arrived. They went house to house, looking for the people who had betrayed them. By 11:00 at night there was no movement of cars on the streets. There was no movement of any kind. — Martín Márquez, hot dog vendor
-
info
For myself, I was bitterly opposed to the measure, and to this day regard the war [with Mexico] which resulted as one of the most unjust ever waged by a stronger against a weaker nation. It was an instance of a republic following the bad example of European monarchies, in not considering justice in their desire to acquire additional territory. — Ulysses S. Grant (1822-1885), 18th President of the United States
-
info
Chapter 1 - Persons To Be Excluded: The following classes of aliens shall be excluded from admission into the United States: All idiots, imbeciles, deeble-minded persons, epileptics, insane persons; persons who have had one or more attacks of insanity at any time previously; persons of constitutional psychopatic inferiority, […] persons not comprehended within any of the foregoing excluded classes who are found to be and are certified by the examining surgeon as being mentally or physically defective, […] — “Regulations Governing the Medical Inspection of Aliens” by United States Public Health Service, August 1917
-
info
To me, the spiraling tire tracks on the Arizona desert resemble the ancient symbols inscribed into the deserts of Peru and Chile by people of the Nazca culture, more than a thousand years ago. The Nazca likely created their giant geometric shapes for religious purposes. But these Border Patrol designs, which will also persist for a long time, symbolize something darker: our 21st century fear and anger, and a burst of US government lawlessness. — Ray Ring, American novelist and journalist
-
info
I feel sad that our graduation is coming up and my dad isn’t going to be able to come. — JoAnna Rodriguez, transborder student whose father was kicked out of the US in 2007 after being caught crossing the border illegally several times
-
info
I will build a great wall – and nobody builds walls better than me, believe me – and I’ll build them very inexpensively. I will build a great, great wall on our southern border, and I will make Mexico pay for that wall. Mark my words. — from Donald Trump's speech in which he announced his candidacy for President of the United States (June 16, 2015)
-
info
They were sprayed in the face, they were sprayed in their private parts. They were stripped naked and inspected, and sometimes they’re inspected like you would inspect livestock […] So they talk about how humiliating it was, about "why do they think we’re so dirty." […] I don’t know if they necessarily were told "we’re spraying you with DDT," but they all call it "el polvo", the powder. — Yolanda Chavez Leyva, Associate Professor at CIBS El Paso, interviewed about the Mexican workers entering USA under the Bracero program (1942-1964)
Websites
personal website
nicolamoscelli.comSocial media
Member of Artists’ Initiative/Collective/Incubator
Vernacular Social Club
Curriculum vitae
Education
-
Self-taught
-
2024 - 2024workshop on research and experimentation with images by Alessia Rollo Creadores De Imagenes
exhibitions
-
2024Bari Photo Contest - Sguardo Periferico Teatro Margherita Bari, Italy First edition of Bari Photo Contest (Sguardo Periferico) 7th place, awarded with participation to a workshop with Manoocher Deghati bariphotocontest.it/ Group
-
2020Rotterdam Photo 2020 Willemsplein Rotterdam, Netherlands 2020 edition of Rotterdam Photo Festival (Transitions) Exhibition of documentary serie Monogatari www.rotterdamphoto.eu/previous-editions/ Group
Projects
-
2024
Dead End Archives John Adams Institute Amsterdam, Netherlands www.john-adams.nl/category/blog/dead-end/ Collaboration with John Adams Institute: curation of web photoblog with 5 episodes based on content from the documentary project Dead End (2020-2023)
Publications
-
2024Dead End Book Penisola Edizioni Nicola Moscelli Montebelluna (TV), Italy nicolamoscelli.com/dead-end Author: Nicola Moscelli Publisher: Penisola Edizioni in collaboration with Antiga Edizioni Editor: Steve Bisson Graphic design and cartography: Roberto Vito D'Amico Texts: Nicola Moscelli (essays), Maceo Montoya (foreword: How to Transcend the Distance), Miriam Ticktin (interview), and Steve Bisson (afterword: Who Draws the Boundaries?) Published in May 2024 1st edition, 500 copies ISBN 978-88-84354-53-2 • 360 pages 20 cm x 29.7 cm Offset printing Soft book cover with flaps Swiss brochure binding with exposed spine • dead end: \ ‘ded-,end \ noun 1: an end of a road or passage from which no exit is possible 2: a situation that has no hope of making progress “Dead End” is a visual investigation that intersects the past and present of the border between the United States and Mexico developed by Nicola Moscelli during the three years of the pandemic. The leitmotif of the dead end, both physical and metaphorical, transcends the geographical boundary and weaves through the entire narrative, urging the reader to delve into the complex, innervated fabric of events and issues that the borderlands have witnessed since their inception. Streetview imagery captured from both sides of the border reveals unfiltered scenes of stark beauty, harsh realities, and many roads ending abruptly. What they have in common is the aftertaste of an interrupted story, of suspended magic, of meaning lost in nothingness. Through a meticulous research work, the author enriches these contemporary hyper-surveillance sceneries and old prints with quotes from ordinary people and historical figures, excerpts from government documents, interviews, social media, fragments of poems and song lyrics. These pieces of evidence of the historical, cultural, and poetic dimensions of the borderlands are thus unearthed from nowness oblivion, forging an augmented reality to the aid of collective reflection. The investigation opens up a method to relaunch the border as an interpretive, conceptual, and optical device: a “scopic” archaeology that uses images as fossils of social memory.
reviews
-
2024Ep. #34: Border Stories: Nicola Moscelli’s US-Mexico Exploration - The Urbanaut Podcast Blog/Vlog Patrick Lee Hubbard France www.youtube.com/watch?v=RRCydPZqsZc
-
2024Ep. #223 Dead End - Nicola Moscelli - Discorsi Fotografici Podcast Blog/Vlog Mirko Bonfanti Italy open.spotify.com/episode/4DzMEr8qiezdIBaX9R2rtr?si=TZlz8GSVQi6Fis7h8hN_PQ
-
2023Nicola Moscelli. Dead End - URBANAUTICA Journal of Visual Anthropology and Cultural Landscapes Magazine Steve Bisson Italy urbanautica.com/interview/nicola-moscelli-dead-end/3835
-
2023Dead End: A New Border Narrative. Le complessità del confine nel libro di Nicola Moscelli Magazine Mirko Bonfanti Italy magazine.discorsifotografici.it/dead-end-a-new-border-narrative-le-complessita-del-confine-nel-libro-di-nicola-moscelli/
Awards and grants
-
20222022 Open Call Winners Fotograf Magazine Czech Republic https://fotografmagazine.cz/en/magazine/2022-open-call-winners/