Cartographies of Exile

Exile became a defining experience in Fernando Birri’s life, informing a creative vision shaped by struggle and resilience. Each period of displacement opened a new chapter in his artistic development.

His first departure from Argentina came in the early 1950s during Juan Domingo Perón’s first presidency—a time of ambitious social reforms coupled with rising political tensions. Influenced by his Italian heritage, Birri moved to Rome, where he studied at the Centro Sperimentale di Cinematografia and immersed himself in Italian Neorealism. In 1956, he returned to Santa Fe, Argentina, and founded the Instituto de Cinematografía de la Universidad Nacional del Litoral, later known as the Escuela Documental de Santa Fe.

His second exile began in 1963, following the civil-military coup that overthrew President Arturo Frondizi, when growing censorship and political repression once again forced him to leave Argentina. Seeking a more open environment, he relocated to São Paulo, Brazil, where he initiated new film projects. However, this promising period was cut short by Brazil’s 1964 military coup, which triggered a new wave of migrations—first to Cuba and eventually back to Rome. ¹ Reflecting on that moment, Birri would later recall, “It was only after this long pilgrimage in search of filmmaking opportunities within Latin America, having left no possible stone unturned, that I decided to return to Italy. It was neither a wish for nor a voluntary decision, but one reached out of desperation.” ²

Though this period was marked by displacement and loss, it also became a turning point for artistic growth and self-reinvention, transforming his grief into a broader sense of belonging. During these years, Birri sought refuge in poetry and visual art—mediums through which he could process the emotional and psychological weight of exile. His works became both a personal reflection of his spiritual journey and a narrative layered with symbolism exploring his own sexuality and new cultural experiences—symbols that resonated with the shifting social and political landscape of the time.

By the 1970s, Birri’s creative output—in both film and visual art—reflected the ongoing impact of exile. Though living in Italy and embracing a more global perspective, he remained securely rooted to his Argentine origins. As he once put it, “I’m someone who walks the world, and my shoes are my homeland, but the soles are from Santa Fe.” ³ For Birri, exile was initially a condition of loss but over time it also became a space for artistic renewal, pushing Birri to reimagine his artistic practice and reclaim a sense of belonging across borders.