Le luci del titolo sono le 81 lampadine che si accendono e si spengono al ritmo di un cuore, volute dall'artista Christian Boltanski nel Museo bolognese per la Memoria di Ustica in ricordo della tragedia dell'aereo DC9 dell'ITAVIA caduto il 27 giugno 1980. Una per ciascuna delle vittime, 81 persone a bordo.
Regia: Luciano Manuzzi
#Crime #TrueCrime #Delitti #Misteri #Documentari #Killer #SerialKiller #ColdCase #Cronaca #CronacaNera #DivinumCrime #Strage #Mistero #SegretoDiStato #Libia #Gheddafi #Francia #Italia #Documentario #Ustica #DC9 #MuroDiGomma #Purgatori #AndreaPurgatori
Regia: Luciano Manuzzi
#Crime #TrueCrime #Delitti #Misteri #Documentari #Killer #SerialKiller #ColdCase #Cronaca #CronacaNera #DivinumCrime #Strage #Mistero #SegretoDiStato #Libia #Gheddafi #Francia #Italia #Documentario #Ustica #DC9 #MuroDiGomma #Purgatori #AndreaPurgatori
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TVTrascrizione
00:29Sous-titrage ST' 501
00:30My wife didn't like being filmed. That's just how she was.
00:39I loved being under her feet.
00:42I loved him even when he told me to go to hell and yelled, enough, you're boring me.
00:49Choosing the dress to go to Palermo had taken up a lot of her time.
00:54All those tests, those fields.
00:56How beautiful, my love.
01:22That day too she had packed her bags with double the things she needed.
01:35She had put on her flowered dress for the trip.
01:38My favorite.
01:40She was gorgeous.
01:48I never thought it would be the last time I saw her wearing it.
01:58He was about to miss that damned flight.
02:01I will never forget that day.
02:04His parents were waiting for him in Palermo.
02:07How many phone calls.
02:09He wasn't late.
02:11It never arrived.
02:39We are here today, in this place.
02:42It is a sacred place in the Museum for the Memory of Ustica.
02:46In front of this wreck, which is the only witness to that tragic event.
02:53who was the symbol of the living who needed him.
03:01they needed to search for it, to find it, to recover it at 3500 meters deep,
03:11to reassemble its 2,500 pieces to try to understand what had happened to it.
03:17All this gave the magistrates the opportunity to carry out expert reports on his body,
03:24on its dismembered pieces, to understand that it was inside an episode of air warfare
03:31that the demolition had taken place.
03:33There was an air battle.
03:46This wreck alone could have been insufficient, incapable of telling the pain, of telling the desperation.
03:57And then we also tried to combine another language, the language of art.
04:02We wanted to meet him, knowing him in his great museums at an international level,
04:08a great contemporary artist, Christian Boltanski, who accompanied us on this journey.
04:30I believe in the importance of every human being, because every human being is unique.
04:42Unique, but it is unique, but it is unique, but it is unique, but it is unique, but it is unique.
04:45All my life, all my works are an exercise, because they are a light against oblivion.
04:54It's not possible, but it is possible.
04:58It's not possible.
05:30Cristian Moltansky's relationship with Bologna completely transcends the pure realm of work.
05:39The fact that he chose to create works expressly dedicated to Bologna using the views of the photographs of the
05:51partisans in Piazza Maggiore
05:53It is evidence that he has a strong bond with the city and therefore a strong bond with those who
06:00Then he communicated that city to him, he experienced it for him.
06:05The choice to bring Boltansky to Bologna was a joint choice between the municipality of Bologna, the municipal administration and
06:15the relatives' association
06:16because a figure like Boltansky who had dealt with memory and had dealt with memory between
06:22the other in a way so punctual, so linked to death, so linked to tragic events
06:30it could have been the one that identified a language to make people understand what the museum wanted to say.
06:37I had a very intense and very affectionate personal relationship with Christian Boltansky.
06:44I say that in this tragedy I was fortunate enough to meet a truly great friend, a truly great character.
06:53We met him for the first time in Reggio Emilia while he was preparing a theatrical show.
07:02And there, in my opinion, something beautiful happened, that is, between Daria's need for truth
07:12and the availability of the great artist created a bond.
07:18Christian Boltansky, reading these pieces, this wreckage, wanted to be with us to represent it with the things you see,
07:30with the objects you see around here
07:32and to help us I believe in giving a future to the memory of our loved ones.
07:42You chased away a flight with a pen mark, as one does with mistakes.
07:46But I, I am not a mistake.
07:49I am an engineer.
07:50I am a wind.
07:51I'm eleven years old and I put my report card in my suitcase to show it to my father.
07:55I am a woman.
07:56I am a student.
07:58I am a name.
07:59I am a teacher.
08:06Because I, after so many years, don't have to know all the whys.
08:10Why?
08:11What happened?
08:12Why did the plane crash into the sea?
08:14No, it wasn't an accident.
08:15But then?
08:16But then how?
08:16A structural impact.
08:18I know this.
08:19Someone fired a missile.
08:21Who else besides my plane was flying in that exact space?
08:24There are other planes in the air.
08:25NATO, French, Libyans.
08:27Where did they start from?
08:29From a NATO base?
08:30From a NATO base?
08:31But wasn't the American carrier NATO?
08:33What is the role of our government?
08:34Who hid the drugs?
08:36Who shot?
08:37Who has deliberately and willfully ignored my pain?
08:39Who deleted so many lives without even expressing a sense of guilt?
08:52Boltanski had this memory incorporated into his art.
08:57I, in fact, wanted to meet him because I like his art enormously, because it is the art of memory.
09:07I believe that its weight, its strength, lies above all in its ability to interpret history, memory, from
09:19a perspective and from a point of view completely different from that of traditional historiography.
09:24And invent this archive of heartbeats, and invent going to look for the sounds of whales, and go
09:35to invent the bells in the places where Pinochet had buried those he killed.
09:43Boltanski has always done this, he has always done this, he has always been concerned with using reality to get to the
09:50heart, to the memory of people in a rather shocking form, right?
09:57Because when you find yourself in front of an installation by Boltanski, you have the sensation of a reality that perhaps
10:05you had removed and that falls on you like Indiana Jones' ball.
10:25Boltanski has truly written a fundamental page in the history of contemporary art, and this can be deduced from two fundamental elements.
10:34The first one who cannot be inscribed in any specific current, he moves, he moves along his own path, his own
10:43independent itinerary, and two because his research, his theme, his poetics, had enormous repercussions in
10:54all the generations that followed.
10:58And you remain silent, in many there is no face, no story, nothing and no one to
11:03blame.
11:04I'm ten years old, and I have plenty to say too. Why did you delete my...
11:08future?
11:08I could have changed the world, without me we would have been poorer.
11:11Why don't we have the right to know, to understand?
11:13To give a face if there is a culprit.
11:16I am no more, and it is your fault.
11:19It's all your fault, you who perhaps know something.
11:22We don't even have the right to forgive.
11:23Even just a clue, which could help us understand who the culprits are.
11:27And he still accepts us.
11:28I want to know.
11:29I am no more.
11:42It was June 27, 1980s,
11:51and an uncivilized plane suddenly fell into the sea.
11:59Only, around 5 in the morning, they told us that the plane was reported missing.
12:15In the immediacy of the event, we can never forget this,
12:21what we were told by the authorities, officially therefore,
12:25was that the D-19 had crashed due to structural failure.
12:31It didn't come as a massacre.
12:34They told me, an airplane crashed.
12:38That is, the message that came through was that of an accident.
12:43I use the word normal, which is not good, but a normal plane crash.
12:48A plane crashes, it is immediately said that it was due to a structural failure,
12:52but it is clear that this is not the case.
13:08After that a whole series of hypotheses begin,
13:10including the one that is immediately overshadowed,
13:14that there were other planes around that caused that crash,
13:18maybe by firing a missile.
13:19The Ministry of Defense has clarified that neither before nor after the disaster
13:23NATO or Italian air and naval maneuvers were underway in the area.
13:38The next day we learned that the deepest trench in the Tyrrhenian Sea,
13:46between Ponza and Ustica,
13:48had swallowed up our 81 Italian citizens,
13:54our loved ones, and a few days later 39 were those returned from the waters.
14:04The others remained at the bottom of the sea.
14:14On the hypothesis that the plane was shot down by an advanced missile
14:18from the President of the Company of Avanzali,
14:20Transport Minister Formica said that this is just a stronger hypothesis than the others.
14:28Ustica is probably the first moment in which that double loyalty,
14:35that is, loyalty to the State and to the Republican Constitution,
14:39and loyalty to international alliances,
14:44loyalty to the State and to the Republican Constitution wavers and becomes subordinate,
14:51which also implies that 81 people cannot die
14:56while they are going on vacation for no reason, for no reason.
15:10The Pope also spoke to the faithful this morning at the Angelus in St. Peter's Square
15:15he recalled the Ustica air tragedy,
15:17He imparted his blessing and then invited everyone to pray for the souls of the deceased.
15:28An hour and a half after the plane disappeared from radar,
15:32I had a phone call from a military controller,
15:36at the time they were all military personnel at the airports,
15:38who told me that they had seen on American airborne radar
15:44and that the plane had been brought down by a missile.
15:47He told me don't get fooled.
15:49A few months later Aldo Davanzali, owner of Itavia,
15:55he was charged with spreading false and tendentious news
16:00because he claimed that the plane had crashed because it had been hit by a missile.
16:10My father is truly believed to be the eighty-second victim.
16:20When the company went bankrupt,
16:24it was a company with a thousand employees and 12 planes
16:28and was the only competitor to Italy.
16:32and so my father was actually made a bit of a scapegoat.
16:40In my opinion the Italian State still exists
16:42who still hasn't decided to get to the truth after six years
16:45that this truth is in a drawer,
16:47a phantom drawer in which there is certainly everything
16:51what you need to know about this incident.
16:54It appeared as something that had a dimension
16:59certainly the result of maneuvers, interferences, meddling
17:07and soon after foreign interference was added
17:15and therefore from the very first moment
17:18one of the many, too many, infinite Italian mysteries appeared.
17:24It's not that they are mysteries, but at this point they are not secrets either,
17:27they are evidence, evidence, so to speak, of an environmental diversion.
17:34The fact that all the people who had said it from the beginning
17:38have not been heard in depth,
17:41in fact some of these may have even disappeared
17:43under mysterious circumstances
17:45and that a phone call was necessary to be able to watch it
17:49of a witness to a television program,
17:52as happened with Telefono Giallo.
17:54Ready?
17:55Ready?
17:55Yes.
17:56Can you hear me?
17:57I hear it softly but I hear it.
17:59Sorry, but to be able to get on the show
18:00I was a piera in service in Marzala
18:02the evening of the 19th fall event.
18:05The truth is this, we were ordered to keep quiet
18:09and I greet her because I don't want her tears,
18:12that I don't want to do it like this.
18:12Kind, kind friend, kind friend, don't attack.
18:19The Itavia affair
18:21or at least the story of the distraction,
18:26theft of all documents
18:29which leads prosecutors to investigate
18:33against a rubber wall
18:36as Andrea Purgatori effectively described
18:39in the first job.
18:43It's not made up of very intelligent people,
18:47refined, minds, conspiracy theorists
18:51who keep everything in the dark,
18:53but of a sum of buck-passing
18:58who are unable to fully take on the burden
19:01responsibility for one's actions.
19:08The Mediterranean, which has always been the other wall,
19:12in addition to the Berlin Wall that divided the two Germanys,
19:15there was the other border,
19:17the one that divided the north and south of the Mediterranean
19:20and Italy was the country on two borders.
19:31Gaddafi, who was the West's number one enemy,
19:34we were blackmailed by Gaddafi on a daily basis
19:37partly because he owned 13% of Fiat shares,
19:40so he was also my editor in a way
19:42because Fiat owned the Corriere
19:44and then there were 25,000 Italian workers in Libya
19:47and the Libyan ambassador went every day
19:50to the Ministry of Foreign Affairs to say
19:51you must give us your names, addresses and telephone numbers
19:53of the opponents who are in Italy,
19:55we gave them to them and many were killed.
20:00The politicians who instead in the 70s
20:04they were directing the game,
20:06sometimes even dirty play,
20:08sometimes even the bloody game,
20:11they lose weight
20:11and therefore all investigations are conditioned
20:15from a code of silence in the military environment,
20:19particularly in aeronautics,
20:20some politician who puts himself at the service of silence.
20:24The prior judge manages to demonstrate
20:26which was destroyed
20:28everything that was humanly possible to destroy
20:33at all radar sites
20:35for an hour and a half from that event,
20:39before and after.
20:50All the things that should have been
20:53to testify what happened
20:54they disappeared immediately.
20:59There are ships, an aircraft carrier
21:02what do you say we had all the systems turned off,
21:05there are various observatories,
21:08radar throughout Italy
21:10that I didn't take it at that moment,
21:12it was off,
21:13pages that have been torn out
21:15who knows why only that one.
21:18Here, this is the first thing for me
21:19that would make me think.
21:21When it's missing, so to speak,
21:23the recording of something that happened,
21:26so then we start to think
21:27because it is missing.
21:36Around the history of Ustica
21:38there were 20-25 deaths.
21:43I believe that for example
21:44some suicides, not one,
21:47on your knees
21:48they are suicides
21:50on which, let's say,
21:52a veil has been drawn
21:54to avoid going under.
22:04The two Air Force pilots
22:07that that evening
22:08they cross in sight on the 19th
22:09and raise the alarm
22:11because they see that underneath there are
22:13one or two other planes
22:14probably Libyans
22:16and NATO says this,
22:17I'm not the one saying it
22:18and it's in the cards,
22:20they die in another massacre
22:22to Rammstein
22:22a few years later,
22:24shortly before being questioned
22:26from the judge.
22:31Judge Prior
22:32puts together
22:33the presences
22:35of that night
22:36in that sky
22:37getting decrypted
22:40some ribbons
22:41register
22:42from NATO.
22:50at that historical moment
22:52as we said before
22:53could not be claimed
22:55because as Western countries
22:57we could not claim
22:58that we shot down the plane
22:59of Libyan leader Gaddafi.
23:02I believe that
23:02In short
23:03can be defined
23:04this story
23:05like a game of poker.
23:12where are there
23:13Italians, Americans, French
23:15and Libyans
23:16everyone has something
23:17to hide.
23:18We can tell
23:19that ours
23:19national sovereignty
23:21at that moment
23:22it was limited
23:23and that therefore
23:24foreign planes
23:25they could do
23:26what they wanted
23:26in our airspace.
23:28We could tell
23:30which had been
23:3181 people were killed
23:33because there was
23:33a clash
23:34between Libyan planes
23:35Americans, French
23:36but also Italians
23:38that evening.
23:39We could hold on
23:41the weight
23:41of a news item
23:42of this kind?
23:43Certainly not.
24:02There are no performers
24:05there are no principals
24:07there are no guilty parties
24:10there are some hypotheses
24:13of research
24:14there is a truth
24:16that is, that the research
24:18of the truth
24:19it was hindered
24:20by men of the state.
24:26I believe that politics
24:28started
24:29to understand
24:29what had happened
24:30only after
24:32while the military
24:33they found out
24:34from now on
24:35and immediately
24:37they answered
24:37to a sort
24:39of order
24:40of silence
24:41supranational
24:43which was
24:43an order
24:44of an alliance
24:45Western
24:45that he couldn't
24:46afford
24:47to tell
24:48that also
24:48in an operation
24:49war blanket
24:50in peacetime
24:51they had killed each other
24:5281 people.
24:58The attitude
25:00of politics
25:01with respect to these events
25:04of major crime
25:05politics
25:06it has always been
25:08of psychological subordination.
25:11Italian politics
25:13he was hesitant
25:15even helpless
25:16he did not have the moral strength
25:18to face
25:20those sectors
25:22of the apparatuses
25:23of the State
25:23of which
25:24they were obvious
25:26the responsibilities.
25:28What to me
25:29it shocks
25:30he shocked
25:31even more
25:32over the years
25:33by dint of moving forward
25:35to understand something
25:36moreover
25:36to follow
25:38was
25:39and they were
25:40the attitudes
25:41of the others
25:43of other men
25:45and women
25:45of the institutions
25:46and I speak
25:48of the Italian Parliament
25:49go and read
25:50I'm talking about the Italian government
25:52I'm talking about all the colors
25:55of the judiciary
25:56Here you are
25:57these three organs
25:59their components
26:00on this matter
26:02they didn't do it
26:03their duty.
26:22I went once
26:23it was the first time
26:24that I went there
26:24at the headquarters
26:25of the association
26:26victims
26:27relatives and victims
26:27of the massacre
26:28of August 2nd
26:29Bologna station
26:30I'm going there
26:31my name is Paolo Bolognesi
26:32he says come to us
26:33I'm coming
26:33I'm about to ring the bell
26:35and I stay like this
26:35why in the same intercom
26:38There are
26:38relatives and victims
26:40of Ustica
26:41of August 2nd
26:42and the white 1
26:43and two more massacres are missing
26:45which are the ones on trains
26:46I was left like this
26:47but what kind of city is this?
26:48our
26:49my
26:49for being hurt like this
26:57it's not a coincidence
26:58that around Bologna
27:00have occurred
27:01so many tragedies
27:02why do we add
27:03two trains
27:06the station
27:09Ustica
27:10the white 1
27:12which is a bit
27:12out of the neck
27:13it was this too
27:14an element
27:15which made you think
27:17what are they in?
27:18these foreign bodies
27:20that hurt
27:22in many ways
27:23a structure
27:25reformist
27:41in Bologna
27:42let's remember it
27:43they were born
27:44the greatest
27:46designers
27:46of comics
27:47the singer-songwriters
27:48the singer-songwriters
27:49large
27:50I am
27:50here too
27:51how many are there?
27:52there have been some
27:54there was the Dams
27:55which was a
27:56an outbreak
27:58Of
27:59you passed by there
28:00you have an idea
28:01it was a thing
28:02fantastic
28:03in Bologna
28:03in those years
28:04the happy island
28:05it wasn't an invention
28:06politics
28:06it really was
28:07a happy city
28:09he was losing
28:09its enamel
28:29everyone passes through here
28:31the Bologna massacre
28:33it was well thought out
28:34from this point of view
28:35hit Bologna
28:36hit the world
28:36there was a gentleman
28:38Japanese
28:38who came
28:39at all first hearings
28:40from Tokyo
28:41why did they kill
28:41his son
28:42hit Bologna
28:43hit Japan
28:44the strength of Bologna
28:46that's it
28:47of the meeting
28:48it is too
28:49geographically
28:50puts together
28:51different worlds
28:53it's a knotted veil
28:54where in reality
28:55there is a community
28:57that welcomes
28:57That
28:58that makes you feel
29:00At home
29:05I think that
29:06Bologna
29:07have
29:07held
29:08many
29:09these roots
29:09and the memory
29:10of these sufferings
29:11it's a
29:13moment
29:14not secondary
29:15of identity
29:16of the city
29:16every year
29:17August 2nd
29:18one day
29:18almost already
29:19of holidays
29:20with the heat
29:21let's meet
29:22in many
29:23to go
29:24from Piazza Maggiore
29:24at the station
29:25and every year
29:26we are always
29:27I won't say more
29:28but anyway
29:28we are always
29:29very numerous
29:30In short
29:32with meaning
29:32he has it
29:33these wounds
29:35that I am
29:35those of all
29:37the city
29:38I'm not alone
29:38of relatives
29:39in some ways
29:40we are all of us
29:41the relatives
29:42of August 2nd
29:43of the Ustica massacre
29:44of the one white
29:46of these wounds
29:47that we feel
29:48our
29:49it's amazing
29:50that at a distance
29:51over 40 years old
29:53Still
29:54involve
29:55many people
29:56precisely because
29:57they represent
29:58Also
29:59the answer
30:00of the city
30:02the massacre
30:04of Ustica
30:04it's different
30:06from the massacres
30:07previous ones
30:08for a reason
30:09first of all
30:10Already
30:11the target
30:12an airplane
30:13a crew
30:15of peaceful
30:16citizens
30:17the scenario
30:18of a possible
30:20air battle
30:22in the background
30:23with the involvement
30:24possible
30:25of powers
30:27foreigners
30:27with the presence
30:29of weapons
30:31lethal
30:40we created
30:41the committee
30:42for the truth
30:43on Ustica
30:44compound
30:45from seven
30:46personality
30:47who wrote
30:48a letter
30:48to the president
30:49of the republic
30:50asking
30:51that it was
30:51and it was
30:5286
30:53asking
30:54that they were
30:54removed
30:55the reasons
30:57the causes
30:58which prevented
30:59to this truth
31:01to make light
31:05and then
31:06the government
31:07of the republic
31:08he settled
31:08the funds
31:09exceptional
31:10compared to expenses
31:11normal justice
31:12as you understand
31:13to be able to go
31:14to recover
31:15to
31:15we learned
31:173,700 meters
31:18in depth
31:19the wreck
31:21of the 19th
31:21in the Martyrrhenian
31:27The recovery of the right
31:29allows us
31:29to verify
31:30some things
31:32that I am
31:32those
31:32That
31:33how to say
31:34the contamination
31:35with explosives
31:36military
31:37of the interior
31:38of the plane
31:39allows us
31:40to verify
31:41of the options
31:42to exclude it
31:43other
31:43for example
31:45I spoke
31:46of the first recovery
31:47then there were some
31:47two more
31:48if it is not worth it
31:49there were
31:49two more
31:49campaigns
31:50recovery
31:51and until
31:52it was not taken
31:53the black box
31:53the black box
31:54highlighted
31:55that that plane
31:56had had
31:57a breakup
31:58sudden
32:04around that wreck
32:05they were made
32:06appraisals
32:08superices
32:08superies
32:09from the judge
32:10prior
32:10since 90
32:11onwards
32:12as many as
32:13have been
32:14those who have
32:15permission then
32:15to the truth
32:16to be written
32:18Meaning what
32:18expertly
32:20the judge
32:20prior
32:21he has in his hand
32:22appraisals
32:22which allow him
32:23to conclude
32:24in this way
32:25the 19th
32:26it was shot down
32:27within
32:27of an episode
32:28of air warfare
32:38with the association
32:40of relatives
32:40of the victims
32:41of Ustica
32:42the family members
32:43they have
32:44offered
32:46that part
32:47of their mourning
32:48to the community
32:50that tragedy
32:53he hit
32:53the whole
32:54our country
32:55and it was right
32:56that the whole
32:57our country
32:57did it
32:58its
32:59but why
33:00this happened
33:01it was necessary
33:02that is precisely
33:03those people
33:04they offered
33:06to public opinion
33:07a piece
33:08of one's own
33:09pain
33:09giving up
33:10to live it
33:11in intimacy
33:12of one's own
33:13dwelling
33:13was
33:14very hard
33:15was
33:15I believe
33:16I am not
33:18very easy
33:19to the emotion
33:20I do it myself
33:21I do it in others
33:22moments
33:22in other ways
33:24it wasn't there
33:25possible
33:25I think that
33:26I will have cried
33:27all the tears
33:29that publicly
33:30I hadn't cried
33:31at other times
33:42I hope it is understood
33:44what meaning
33:45has
33:45for us
33:47that wreck
33:49it was the place
33:51returned to Gal
33:53think
33:54from 3700 meters
33:56in depth
33:57which had been
33:58the coffin
33:59for everyone
34:0081
34:05to greet a person
34:07it is obviously
34:09something decisive
34:11how many times
34:12of someone
34:14That
34:14that is no longer there
34:16we hear
34:17a bitterness
34:18further
34:20because we don't have
34:21I was able to say goodbye to him
34:22the two roots
34:24of our civilization
34:25Jerusalem
34:26more Athens
34:26which form
34:27that thing
34:28what we call
34:29what we call
34:30West
34:30both
34:32they teach us
34:34how much to bury
34:35the dead
34:35to care for the dead
34:36it was
34:37at the base
34:38of the process
34:38of hominization
34:40if we have become
34:41civilians
34:42it's also because
34:43compared to others
34:44living beings
34:45we started
34:46this practice
34:57death
34:57death in general
34:58it's a wound
34:58which is unlikely
34:59it heals
35:00but
35:01the processing
35:01of mourning
35:02can be
35:02a balm
35:03to heal
35:04their wound
35:05bigger
35:06how atrocious
35:08that doesn't do
35:10to be well
35:10even at a distance
35:12precisely
35:13of many years
35:14And
35:15injustice
35:28in some ways
35:29there was no
35:30not even exactly
35:31a certain conclusion
35:33of a clarity
35:34definitive
35:34on those responsible
35:36all the more so
35:37if they are
35:38institutions
35:39that defend
35:41that they have to defend
35:42justice
35:43which are called into question
35:44we are intelligence
35:46we are too
35:47desire for knowledge
35:48then we are will
35:49desire for justice
35:50and therefore the fact
35:51that justice
35:52may be
35:52even at a distance
35:54of years
35:55made
35:56well this
35:56it is clearly
35:57what
35:58can heal
35:59those wounds
36:01that there are
36:02that will always remain
36:03the scars
36:04they always remain
36:05when you lose
36:05a loved one
36:06it's clear that
36:07will always remain
36:08but precisely
36:09an account to have
36:09the open wound
36:10it's one thing to have it
36:11healed
36:17this wreck
36:18where will it be
36:20put in order
36:22who will throw it away
36:23away again
36:24who will scrap it
36:25again
36:26where will they put it
36:27you understand
36:28I hope it is understood
36:30what does it mean?
36:31for us
36:32that wreck
36:52I remember that
36:54at 5 in the morning
36:55this convoy
36:56of a large number
36:58of trucks
37:00very very suggestive
37:01he arrived at the motorway service station
37:03of Cantagallo
37:04at the gates of Bologna
37:06in Casalecchio di Reno
37:07and when we were there
37:09some have even
37:10started crying
37:11because it seemed
37:13an operation
37:14impossible
37:20the idea of ​​the museum
37:22for the memory
37:23of Ustical
37:24she came
37:25in this city
37:26to us
37:27Certainly
37:28but asking
37:30comfort
37:31to the possibility
37:33of the realization
37:34of this idea
37:35to the mayor
37:36of the city
37:37that at that moment
37:37it was Walter Vitali
37:38the meaning
37:39that's it
37:39to be able to remember
37:41not only
37:43the fact itself
37:44but also
37:44the story
37:45of the Ustica massacre
37:54it would have been
37:55very hard
37:56to hold
37:57the presence
37:59of that wreck
38:02in Bologna
38:03and it would have been
38:05very hard
38:05precisely
38:07if we weren't
38:08successful
38:08to add
38:12to transfigure it
38:13also in other things
38:14and then
38:15this presence
38:16of the artist
38:17Christian Boltanski
38:18I think it answers
38:19to this need too
38:29Boltanski
38:30he had left
38:31from the first meeting
38:34from some suggestions
38:36I remember that he
38:38he kept drawing
38:40he kept thinking
38:47I remember one day
38:50in Bologna
38:50in a restaurant
38:52here in the center
38:52began
38:54to elaborate
38:55a little drawing
38:57he did it on a napkin
39:10this breath
39:12that you feel
39:14of the light
39:25the atmosphere
39:26of that museum
39:27it's an atmosphere
39:29naturally
39:30for me
39:31when I visited him
39:32the voices
39:33the voices
39:34they were the thing
39:35more heartbreaking
39:36I already have more
39:37time is very true
39:38that my woman
39:39I feel myself passing by
39:40too
39:41this summer
39:42Sunday
39:42I go to church
39:43of St. Peter
39:44to put a stopper
39:45that takes care of me
39:45of the mother
39:46it's like this
39:47I hope that Antonella
39:48wait for me
39:49at the airport
39:50as soon as I arrive
39:51you dive me into the sea
39:52Grandma's wrongs
39:53they are very good
39:53the ratmaker
39:54it's dishonest
39:55I will have taken it
39:55just this green me
39:57let's make love
39:58all the love
39:58I like Angela
40:00My God
40:00I am afraid
40:08the voices are heartbreaking
40:11they are the voices
40:12of people
40:13that things say
40:14daily
40:15normal
40:15I had breakfast
40:17this morning
40:17you took the coat
40:20he wanted to know from me
40:21the list of the dead
40:23to know
40:24how many men
40:25how many women
40:26how many children
40:27then he gave us
40:28given as a gift
40:29the sentences
40:30which according to him
40:31these people
40:32very normal
40:33they could say
40:34once seated
40:36on a plane
40:37waiting
40:38to arrive
40:39to the destination
40:40I hope that Palermo
40:43beat Catania
40:44I would rather go
40:45on vacation
40:45in Tunisia
40:46Don Cimino
40:47new nights
40:49of the sale
40:49of the shop
40:50it's not fair
40:52a delay
40:53eight days
40:54the next ones
40:55the stiune
40:55I don't take pictures of them anymore
40:57so they are sentences
40:59everyday
40:59they are common phrases
41:01phrases
41:01that each one
41:02about us
41:03can think
41:04that give meaning
41:06from the
41:07when you pass by
41:09and we look in the mirror
41:11even in these
41:12in these
41:14black glasses
41:15they give the sense
41:16of chance
41:17of death
41:38undoubtedly
41:39undoubtedly very strong ethical elements enter into his works.
41:45On the other hand, you can't play, as he says, with death or with life.
41:51if we don't also touch on ethical questions, on why we live, on what life is, etc.
41:58When art plays with reality it can do so in many different ways.
42:03It can do this by establishing a relationship of mutual contamination between reality and art.
42:13because art plays with reality and it's good that it does so,
42:19You don't have to photograph it, you have to set it in motion.
42:28There was a risk in my opinion in that museum in placing the plane in that way.
42:33that the plane became a work of art in itself.
42:35You arrive and you see something really beautiful, it takes my breath away because I know what happened,
42:39but if they had told me that an artist rebuilt it inspired by something of his own
42:44what was in his head, I would have said look at that plane, it's scary, it's terrible,
42:48It makes you understand what can happen, but it is a wonderful and beautiful work of art.
42:53Instead it needs to be contextualized, that is a ghost, not even a ghost, it is a body.
42:59Then put an installation around it that tells you stop right there, stop right there,
43:04This thing takes your breath away because it's incredible and wonderful, but be careful,
43:08this thing means something that happened, that is, all the people who were inside it,
43:13the voices, I wouldn't call them ghosts, even if they seem that way, because they are still there
43:18in our memories, it makes you understand what happened and who was inside that work
43:23of art that that plane is now, this is very important.
43:35We looked at, arranged, and photographed all the personal items.
43:40Christian Boltanski asked us to extract them one by one and photograph them.
44:12Then put everything on the line, that's good.
44:15Is there anything good?
44:23After being photographed they were transferred as if they were buried permanently inside
44:31of nine sealed crates covered with black cloths, these crates of various sizes are visible
44:39like so many tombs at the side of the plane.
45:00The great danger he saw was wireism.
45:05Things were not to be so easily seen and consumed, but were to be more
45:13deeply felt.
45:20Boltanski decided to close, to seal all the objects and thus prevent a view
45:28morbid obsession with the object which is quite an anomalous thing because he puts his coats on display,
45:36the clothes abandoned by immigrants are put on display and therefore it is a revolt against
45:46to its traditional language, in the closure, in the silence, in the intimate secrecy of its own
45:52objects.
46:13there is a very long pain here, a dry cry that lasts.
46:24these dead don't stop dying, they don't stop not coming home.
46:38There still remains a wait and a lack of understanding that leaves wounds as a long lie can wound.
46:53the long silence of who knows is still, still silent.
47:07We do not know the lured lives thrown into the void, we do not know whose hand placed them
47:21hurled, what order, data or error or military greed, what violent silence,
47:32nor how so much a life can stagnate in lack of pity.
47:42and we wonder who are you in charge?
47:50Who are you who know and remain silent and pretend to have a whitewashed peace?
47:58your gravity weighs on this earth.
48:06how much joy was denied, it was everyone's in this spring.
48:17we don't know why this surrounding wonder, this land so well shaped, is not enough
48:26of a green of waters and plants, this enchantment of wandering clouds and all the feasts of swallows,
48:38forest celebrations dialoguing with a silence of the moon that slowly lights up the teeming living darkness that pulsates and frightens.
48:57here we continue in a love that has remained formless but painfully firm.
49:08they kiss printed faces, little faces that have not grown up, framed in their years of that time.
49:24How does this nostalgia remain?
49:30how does it not tone down its long spires?
49:38You too will die who know and are still silent.
49:42You will leave here without having felt any real pain, without ever knowing a light step on the earth, a love
49:57that lasts.
50:00What can you love, you who still prolong the pain of the living?
50:09What can he love that is so entangled in lies, so sealed to compassion, so armored to pity?
50:24You are the most barren, the ones who have never really grown, who have never blossomed.
50:34It is you who know and still, still remain silent.
50:47thank you all.
50:51thank you all.
51:08thank you all.
51:43thank you all.
52:01thank you all.
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