The visual artist Luca Coclite and the movie-maker Mattia Epifani are in the middle of the developing of their project Et in terra Pacis, an experimental docufilm about the ex Immigration identification center Regina Pacis, located in the south of Salento.
Find all the updates of the work in progress at Et in terra Pacis.
Et in terra Pacis is a visual artwork conceived in the form of experimental docufilm. The docufilm tells three stories that have crossed from 1960 to today a symbolic place in the history of the Salento territory: the ex Immigration identification center Regina Pacis. An emblematic and metaphorical place, born in the 1960s as a summer colony for children, became the largest Italian cpt in 1998, then the center of judicial scandals for the violence suffered by the refugees and today it is a ruined ecomostro that is being prepared to become a five star resort.
Et in Terra Pacis is a project produced by Ramdom with the support of SIAE | Sillumina – Copia privata per i giovani, per la cultura e MIBACT.
The former reception center for Refugees Regina Pacis is located in the south east part of the Salento peninsula, on the Adriatic coast, in the seaside resort of San Foca. The building looks like a huge box of cement corroded by the wind of the tramontana and the sea breeze, a gray casermon in contrast to the maritime environment that surrounds it, a detention facility with sea view. Throughout its history, Regina Pacis, there have been many things. It was built in the late 1960s, designed to be a summer children’s colony in the Lecce province, the colony closes in the mid-1980s. In 1998 it became a refugee center, the largest in Italy, the c.p. closes in 2006. After ten years in ruins, today is preparing to be transformed into an extra luxury hotel.
This place seems to embody itself with its history and that of men who have crossed and lived the history of the land of Salento with its transformations. A contradictory and frontier place that, like the Salentino territory, from 1960 to today, has experienced a deep metamorphosis marked by different moments and phases of its history: the era of tradition and the popular dimension (now lost), the years immigration (from the Balkans and North Africa) and the era of mass tourism.
Regina Pacis is a place of passage, a dwelling of temporary stories, a ‘transforming thing’ that camelically assumes in every age the form and function the present entrusts to it. As a modern cement fortress, the ‘place’ is traced back to the stories of women and men who have lived it, remaining in their concreteness indifferent to their destinies.