Jasenko Rasol rođen je 1969. u Zagrebu. Diplomirao na Akademiji dramske umjetnosti Filmsko i TV-snimanje. Od 1992. do 1996. radi kao kamerman za Reuters-TV. Od 1997. radi na dokumentarnim, reportažnim i news projektima TV-kuća: BBC, NBC, NTV, FUJI-TV, CCN, HTV, ORF, ZDF, ARTE. Od 2000. radi na igranim, dokumentarnim, eksperimentalnim i plesnim filmovima u Hrvatskoj i EU. Uz snimateljsku profesiju, prisutan na suvremenoj fotografskoj sceni; kontinuirano izlaže (pedesetak samostalnih, tridesetak skupnih izložbi) u zemlji i inozemstvu (Venecija, Pariz, Bochum, Beč, Pordenone...). Realizirao je pet fotografskih umjetničkih knjiga. Fotografije mu se nalaze u zbirkama Muzeja suvremene umjetnosti u Zagrebu, Galerije umjetnina u Splitu, Umjetničke galerije u Dubrovniku i privatnim kolekcijama. Član je strukovnih udruga:  HDLU-Zagreb, HZSU, h.f.s. Za film Susjedi redatelja T. Žaje 2019. godine dobiva nagradu Best cinematography in documentary film na South East European Film Festival u Los Angelesu te Nagradu za najbolju fotografiju na Liburnija film festivalu. Za film Murine (HTV, Sinovi oluja) 1998. dobiva 1. nagradu za režiju na festivalu u Rimu. Živi i radi u Zagrebu kao freelance snimatelj/fotograf.

Jasenko Rasol was born in 1969 in Zagreb. He graduated from the Academy of Dramatic Arts, specializing in Film and Television Production. From 1992 to 1996, he worked as a cameraman for Reuters-TV. Since 1997, he has been involved in documentary, reportage, and news projects for various international TV networks, including BBC, NBC, NTV, FUJI-TV, CCN, HTV, ORF, ZDF, and ARTE. Starting in 2000, he has worked on feature films, documentaries, experimental films, and dance films both in Croatia and the EU. In addition to his work as a cinematographer, he is also an active contemporary photographer, with over fifty solo and thirty group exhibitions to his credit, both domestically and internationally (Venice, Paris, Bochum, Vienna, Pordenone, etc.). He has published five photographic art books. His photographs are part of the collections of the Museum of Contemporary Art Zagreb, the Gallery of Fine Arts Split, and the Art Gallery Dubrovnik, as well as private collections. He is a member of professional associations: HDLU Zagreb, HZSU, and h.f.s. For the film Neighbors directed by T. Žaja in 2019, he received the Best Cinematography in Documentary Film award at the South East European Film Festival in Los Angeles and the Best Cinematography Award at the Liburnija Film Festival. For the film Moray Eels (HTV, Sons of the storms) in 1998, he won the 1st prize for direction at a Rome film festival. Lives and works in Zagreb as a freelance cinematographer/photographer.

Jasenko Rasol
Migrantska ruta, 2022.-2024. / Migrant Route, 2022-2024
foto/video/audio instalacija / photo/video/audio installation

Istra, zima 2022. godine; 15-tak kilometara od Grožnjana, uz cestu prema Marušićima sjedi 40-ak mladih migranata okruženih "maricama". Unaokolo šeću policijski službenici, neki vidno nervozni "poduzimaju mjere i radnje u cilju utvrđivanja zakonitosti njihovog boravka". Migranti mahom zure pred sebe, ovaj put očito neće uspjeti doći do Zapadne Europe. Krijumčari su ih iskrcali u nekoj nigdini, pokazali im smjer u kojem treba ići i odjurili dalje po novu grupu putnika. U Istru godinama dolazim u istu kuću, svega četiri kilometra udaljenu od slovenske granice. Šećući psa, svakodnevno prolazim istim putem nehotično otkrivajući "migrantsku rutu". U šumi i na poluzaraslim stazama, za koje mi se čini da nikamo ne vode, susrećem nepoznate ljude. Uglavnom prolaze pored mene uz tek blago kimanje glavom; ne zastaju, ništa ne govore, samo idu dalje; ne znamo što bismo si rekli, što napravili, u tim trenucima. Odlučujem ne fotografirati migrante; fotografije mogu postati dokaz protiv; fotografiram ono što migranti vide, dok hodamo istom rutom. Snimam njihov subjektivni kadar, formalno identičan mojemu, no po mnogo čemu sigurno drugačiji. Iako je kadar isti, vizura je različita. Ove godine ih više nema, ruta je vjerojatno otkrivena. 

Istria, winter 2022. About 15 kilometers from Grožnjan, on the road towards Marušići, sits a group of about 40 young migrants surrounded by Black Marias. Police officers are walking around, some visibly nervous, “taking measures and actions to determine the legality of their stay.“ The migrants mostly stare ahead, this time they obviously won't succeed in reaching Western Europe. Smugglers dropped them off in some nowhere, showed them the direction they needed to go and sped off to pick up another group of passengers. I've been coming to the same house in Istria for years, only four kilometers away from the Slovenian border. Walking my dog, I daily pass the same route unintentionally discovering the “migrant route“. In the forest and on foot paths, which seem to lead nowhere, I meet unknown people. Mostly they pass by me with just a slight nod; they don't stop, they don't say anything, they just keep going; we don't know what to say to each other, what to do, in those moments. I decide not to photograph the migrants; photographs can become evidence against them; I photograph what the migrants see, as we walk the same route. I capture their subjective frame, formally identical to mine, but certainly different in many ways. Although the frame is the same, the perspective is different. This year there are no more of them, the route has probably been discovered.