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Memorial (2002) Text
Asunción, Paridad Jojaha, curated by Dannys Monte de Oca, Bettina Brizuela and Omar Estrada, 3rd International Biennial of Asunción, Migliorisi Foundation, March 2020
Ancona, Vertigo of Reality, curated by Gabriele Tinti, Mole Vanvitelliana, February 2012
Ancona, Vertigo of Reality, curated by Gabriele Tinti, Mole Vanvitelliana, February 2012
Belgrade, Artist-Citizen: Contextual Art Practices, curated by Bojana Pejić, 49th October Salon, The May 25th Museum, September 2008
Belgrade, Artist-Citizen: Contextual Art Practices, curated by Bojana Pejić, 49th October Salon, The May 25th Museum, September 2008
Belgrade, Artist-Citizen: Contextual Art Practices, curated by Bojana Pejić, 49th October Salon, Belgrade Cultural Centre, September 2008
Rome, Memorial, curated by Emanuela Termine and Gabriele Tinti, parallel event of the 7th FotoGrafia Festival, Sala Uno – International Center for Contemporary Art, May 2008
Rome, Memorial, curated by Emanuela Termine and Gabriele Tinti, parallel event of the 7th FotoGrafia Festival, Sala Uno – International Center for Contemporary Art, May 2008
Berlin, Sexwork. Kunst Mythos Realität, New Society for Visual Arts (Neue Gesellschaft für Bildende Kunst), December 2006
Berlin, Sexwork. Kunst Mythos Realität, New Society for Visual Arts (Neue Gesellschaft für Bildende Kunst), December 2006
Berlin, Sexwork. Kunst Mythos Realität, New Society for Visual Arts (Neue Gesellschaft für Bildende Kunst), December 2006
Asunción, Memorial, Artist talk, Italian Embassy, March 2020
Oldenburg, Memorial (2001-2002), Speaker at the International Conference Heroine of Work – Today: Sex Work, Feminisation of European Migration and Visual Representations, Carl von Ossietzky University, June 2007 (Photo by Tadej Pogačar)
Image from the research process, Turin, 2001
Image from the research process, Turin, 2001
Image from the research process, Turin, 2001
Memorial is a series of eighteen photographs taken where the bodies of murdered sex workers were found.
At the end of March 2001, just after the death of a woman from Moldova, I began to think about reconstructing the memory of these events, and to collect the necessary documentation. I consulted the microfilm of the local newspapers, searching for news about crimes, and all the useful information I could find for the exact identification of the place where the bodies were found. This last operation in fact was only possible, in most of the cases, by contacting people who had seen the bodies or who lived nearby and were well informed about what had happened. The result is this series of 18 photographs taken for me by Piero Ottaviano. They relate to 19 killings which remain for the most part without a conviction, and from this point of view it is certainly no coincidence that, of these, 16 women were foreigners, almost all without permit to stay in Italy.
I have asked myself several times whether this work, which I originally thought of as a kind of discreet monument, without emphasis, doesn’t lose its effect as a result of my reluctance to reveal, when it is exhibited, the background research. I continue to feel that Memorial should thus be read in two ways. A first impression, a distracted view of yet another attempt at landscape photography, perhaps subtly undermined by the unexplainable alternation of beautiful and insignificant landscapes, and natural and artificial landscapes, by a title that alludes to something that might have taken place, by a slight downwards inclination of the view. A second more careful, enquiring, concerned look, which reads in the indifferent obviousness of the landscapes a scenario in which anything could happen – a picnic, an excursion and a murder.
© Cristiano Berti
taken from Pejić, Bojana, Vida Knezević and Ivana Marjanović, eds., Artist-Citizen: Contextual Art Practices, 49th October Salon exhibition catalogue, Belgrade: The Belgrade Cultural Centre, 2008, p. 72
But where can space, a proper space, be found for poetry, art, within a photograph, unless in that which it doesn’t document?
The stylistic value is not in that which has to be told, but in the difference “expressed” by the non presence. In the absent meaning.
This has an obvious consequence: it is of no importance who has taken the photographs and in what sort of style they are taken. They are not photographers d’auteur. Like the game of “Find the Lady” the significance is not in the shape of the cup, but in the bafflement of finding that the ball is hidden elsewhere. To make the enticement more alluring, Cristiano Berti has placed not a ball under the cup, but something with the weight of a brick, then to make it disappear.
© Ugo Castagnotto
excerpt from «Constructing New Evidence», in Memorial, exhibition catalogue, Jesi: Centro Studi Piero Calamandrei, 2004, p. 51
A new experience of thinking will learn to recognise the things and the words relating to them once they have disappeared. It will learn starting from their insoluble, closely linked coexistence, from their coincidence, from their inter-penetration already produced. Their disappearance will not lead us to mistake one coincidence with another. Such an experience will not exploit their memory in any way, nor cast them aside.
It will be able to create contact with them from the presence of smoke and ashes alone. It will be able to find its way around a landscape made up only of dust, from the emptiness into which they have all disappeared.
© Paulo Barone
excerpt from «Retaining a State of Fidelity», in Memorial, exhibition catalogue, Jesi: Centro Studi Piero Calamandrei, 2004, p. 64
All of the places are within the province of Turin, and the deaths all occurred between 1993 and 2001.
After searching local newspapers, the places were often identified thanks to the help of people who were familiar with the discoveries of the bodies.
The pictures, taken between 2001 and 2002, are numbered following the chronological order in which the murdered women were found. There are two editions which differ from each other only in size.
Memorial (2002): Eighteen photographs digitalised from negative and a written text, forming a single work
Lambda print, cm 80×100. Edition of 3 + 1 AP
Lambda print, cm 32×40. Edition of 3 + 1 A
Photographs by Piero Ottaviano
Acknowledgements:
The Tanya Foundation, East Molesey, United Kingdom, and Ideadonna Onlus, Turin, Italy
Collegno, Junction with the Northern Bypass – April 14, 1993
Piossasco, Monte Orsiera Street – August 3, 1993
Nichelino, Nearby Debouché Street – November 1, 1994
Turin, Rattazzi Street – January 29, 1995
Avigliana, Rio Freddo District – March 25, 1995
La Loggia, Po River in the Baraudina District – April 2, 1995
Candiolo, Provincial Road 142 and Gallino Street – April 18, 1995
Moncalieri, Banna River in the Bauducchi District – July 8, 1995
Beinasco, Ravetto Road – September 27, 1995
Reano, Presparero District – August 2, 1996
Carmagnola, Provana District – August 19, 1996
Turin, Unione Sovietica Avenue – January 18, 1997
Caselette, Grangetta District – May 24, 1997
Turin, Former Alfa Romeo factory, Botticelli Street – August 1, 1997
Turin, Villaretto Road – November 14, 1997
Rivoli, La Perosa District – February 14, 1998
Leinì, Lonna Road- November 19, 1998
Collegno, Canal near the Junction with the Northern Bypass – February 17, 2001
2012
Vertigo of Reality, curated by Gabriele Tinti, with a text by Luigi Fassi, Mole Vanvitelliana, Ancona, Italy
2008
Memorial, curated by Emanuela Termine and Gabriele Tinti, parallel event of the 7th FotoGrafia Festival, Sala Uno – International Center for Contemporary Art, Rome, Italy
2004
Memorial, with texts by Paulo Barone and Ugo Castagnotto, La Salara di Palazzo della Signoria, Jesi, Italy
2020
Paridad Jojaha, curated by Dannys Monte de Oca, Bettina Brizuela and Omar Estrada, 3rd International Biennial of Asunción, Migliorisi Foundation, Asunción, Paraguay
2008
Artist-Citizen: Contextual Art Practices, curated by Bojana Pejić, 49th October Salon, The May 25th Museum and Belgrade Cultural Centre, Belgrade, Serbia
2006
Sexwork. Kunst Mythos Realität, Haus am Kleistpark and New Society for Visual Arts – nGbK, Berlin, Germany
2002
Big Social Game, curated by Giacinto di Pietrantonio, Corinne Diserens and Calc, Big Torino 2002 – 2nd International Biennial of Young Art, directed by Michelangelo Pistoletto, Turin, Italy
2020
Memorial, artist talk (March 2), Italian Embassy, Asunción, Paraguay
2007
Memorial (2001-2002), speaker (June 1) at the International Conference Heroine of Work – Today: Sex Work, Feminisation of European Migration and Visual Representations, Carl von Ossietzky University, Oldenburg, Germany
2006
The Missing Appointment with the Reality, artist talk (December 16), New Society for Visual Arts – nGbK, Berlin, Germany
2020
«La Bienal 2020 cuenta con varios lugares para visitar», Ultimahora.com, March 5
«La Bienal invita a un recorrido por el arte en el centro de Asunción», Ultimahora.com, March 4
2013
Giannangeli, Pierfrancesco, «’Scie di sangue dietro la normalità’. A Londra l’opera di Cristiano Berti, jesino d’adozione», Il Resto del Carlino (Bologna), Cultura e Spettacoli. Il Caffè, CXXVIII, 23: January 27, p. 33
2012
Arcidiacono, Maria, «Cristiano Berti, Mole Vanvitelliana di Ancona», Artapartofculture.net, March 23
Cristiano Berti. Vertigine del Reale/Vertigo of Reality, exhibition catalogue, Turin: Allemandi (ISBN 978-88-422-2104-3), pp. 6 – 27, 159
Dogliani, Jenny, «L’indizio vale più della prova», Il Giornale dell’Arte (Turin), XXIX, 317: February, p. 25
Fassi, Luigi, «The Vertigo of Reality/La vertigine del reale», in Cristiano Berti. Vertigine del Reale/Vertigo of Reality (previously cited), p. 153/146 – 147
Ginesi, Armando, «Cristiano Berti e la vertigine del reale», Whipart.it, March 26
Granata, Andrea, «Una realtà che dà la vertigine», Agenziaradicale.com, February 22
«In ‘memorial’ di prostitute uccise», ContaminArte, blog, April 2
«Le prostitute e i luoghi dove sono state uccise: lo sguardo di un artista», Redattoresociale.it, March 8
Maggio, Luca, «La Vertigine del Reale di Cristiano Berti», Arte Mosaico Ravenna, blog, February 28
Mariani, Federica, «L’accento investigativo e le anomalie del reale», Arttribune.com, March 17
Marzioni, Maira, «Cristiano Berti. Ancona, Mole Vanvitelliana», Exibart (Rome), XI, 78: April – May, p. 66
Morelli, Loretta, [exhibition review] Juliet Art Magazine (Trieste), Spray Italia, XXXII, 158: June, p. 86
Nicoletti, Gianluca, «Il cimitero vuoto delle donne di strada», Lastampa.it, March 8
Procolo, Annamaria, «Prostitute uccise: I luoghi vuoti raccontano», Psicologiaradio.it, March 10
«Vertigo of Reality: Cristiano Berti on show», Dromemagazine.com, March 10
Zucchi, Barbara, Uomini che temono le donne, blog
2008
Berti, Cristiano, «Memorial», in Artist-Citizen: Contextual Art Practices, ed. by Bojana Pejić, Vida Knezević and Ivana Marjanović, 49th October Salon exhibition catalogue, Belgrade: The Belgrade Cultural Centre (ISBN 978-86-7996-013-9), pp. 44, 72 – 73
Caligiuri, Orsola, «Cristiano Berti. Sala 1 di Roma», Teknemedia.net, May 19
«Cristiano Berti. Memorial», Vedere a Roma (insert of ll Giornale dell’Arte, Turin, XXIV, 276), 2: May, p. 9
Dejan Ðorić, «Siromašna umetnost», Pečat (Belgrade), 33: October 10, p. 58
Parsi, Maria Rita, «Il martirio delle lucciole. Una “via crucis” in mostra», La Nazione (Florence), CL, 127: May 9, p. 12
Vicario, Virginia, «Vedere la Normalità», Diario (Milan), XIII, 8, p. 70
2007
Allen, Jennifer, «Sexwork: Art Myth Reality», critics’ picks, Artforum.com, January 16
«Cristiano Berti, Memorial», 2001-2002, Mister Motley (Amsterdam), 13, pp. 2 – 3
Hebi Onna, «Sekkusu Wa-ku – Geijutu Shinwa Genjitu: Syakai No Ninshiki No Shikata», Obentoya.blogspot.com, February 26
Künke, Jenny, «Um Klischees von Mystifizierung zu vermeiden», Scheinschlag (Berlin), 1: February, p. 13
Moor, Svenja, «Sexwork II: ‘Selbstverständnis und Respekt’ in der NGBK», BlaueAugen.net, February 5
Nungesser, Michael, «Sexwork, Kunst Mythos Realität», Kunstforum International (Ruppichteroth), 184: March – April, p. 291
Testadiferro, Beatrice, «Cristiano Berti e la ricerca della memoria e dell’identità», Voce della Vallesina (Jesi), Arte e cultura, LV, 4: February 4 – 10, p. 10
2006
Ackermann, Tim, «Mehr als ein F-Wort», Die Tageszeitung (Berlin), Kultur, XXVIII, 8157: December 21, p. 16
Bauer, Stéphane et al., Sexwork. Kunst Mythos Realität, exhibition catalogue, Heidelberg: Kehrer Verlag (ISBN 978-3-939583-17-2), pp. 14, 24 – 25
Kama, «Sex and death in Turin», Gridskipper.com, January 3
Maier, Susanne, «Die Kunst der Prostitution», BZ – Berlins Grösste Zeitung (Berlin), Kultur, 294/50, December 16, p. 27
2005
Filonzi, Annalisa, «Cristiano Berti. Ovvero il malinteso della rappresentazione fotografica», Scirocco (Senigallia), 10: April – June, pp. 72 – 73
2004
Barone, Paulo, «Retaining a State of Fidelity/Mantenersi in stato di fedeltà», in Memorial, exhibition catalogue, Jesi: Centro Studi Piero Calamandrei, pp. 60 – 64/55 – 59
Castagnotto, Ugo, «Constructing New Evidence/Costruendo nuova evidenza», in Memorial (previously cited), pp. 50 – 52/47 – 49
Di Genova, Arianna, «‘Memorial’, l’impossibile fedeltà alla storia», Il Manifesto (Rome), XXXIV, 149: June 23, p. 13
«Il fotomemoriale delle prostitute uccise», ll Giornale dell’Arte (Turin), Il Giornale delle Gallerie, XXI, 232: May, p. 64
«La Salara espone le foto di Berti», Il Resto del Carlino – Ancona (Bologna), Jesi, CXIX, 112: April 23, p. XIII
«‘Memorial’ alla Salara», Corriere Adriatico – Ancona (Ancona), Jesi, CXLIV, 113: April 24, p. XIII
2002
Cabiati, Irene, «Nei panni delle ragazze nigeriane», La Stampa – Torino (Turin), Giorno e Notte, CXXXVI, 107: April 21, p. 47
Clausen, Eva, «Spielbälle der Kunst», in Handelsblatt (Düsseldorf), April 30
«Cristiano Berti», in NYArtsmagazine.com
Francia, Silvia, «Big, giovani artisti ci guardano», La Stampa – Torino (Turin), Giorno e Notte, CXXXVI, 106: April 20, p. 45
Moliterni, Rocco, «Dallo zerbino a internet. L’arte è un gioco sociale», La Stampa – Torino (Turin), Giorno e Notte, CXXXVI, 78: March 21, p. 53
Moliterni, Rocco, «Ride la scavatrice sotto la luna di Big», La Stampa (Turin), Cultura e Spettacoli, CXXXVI, 143: May 3, p. 29
Mulatero, Ivana and Cristiano Berti, «Memorial», in TooBig, BIG 2002 exhibition catalogue, Turin (ISBN 88-900196-1-1), vol. II: The Come Back Issue, p. 19
Pettenati, Amedeo, «Il pane quotidiano di Big 2002», Il Giornale del Piemonte (insert of Il Giornale, Milan, XIX, 67), Bloc Notes, IV, 67: March 21, p. 9
«Un sacco alternativa. La Biennale 2002 dei giovani è un Big Game», in ll Giornale dell’Arte (Turin), Le mostre, XVIII, 209: April, p. 27