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  • VENICE, ITALY - 4 JUNE 2016: Visitors look at the lightbox on the Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations. study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they ge
    CIPG_20160604_NYT-Evidence_M3_0350.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0370.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0335.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0301.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale plaster model of a gas hatch used in Auschwitz, is seen here in the Evidence Room exhibition at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0094.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0039.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the lightbox on the Case 3 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0390.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors watch the video of Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0383.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0344.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the writings and illustrations on the lightbox of the Case 3 study by Forensic Architecture on the "Left-to-die boat", the deadly drift of a migrants’ boat in the Central Mediterranean, presented here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0307.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the writings and illustrations on the lightbox of the Case 1 study by Forensic Architecture on the 2012 US drone strike in Miranshah, Pakistan, presented here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0288.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the palster model of a gastight doow in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0216.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster casts of plans, memoirs, drawings and of a gas mask related to Auschwitz are seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0213.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of the section of Crematorium 3 of Auschwitz, drawn by David Olère in 1946, is  seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0203.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gastight door and a gas hatch used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0175.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster cast of David Olère's drawing of the undressing room of Crematorium 3 of Auschwitz, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0163.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster cast of David Olère's visual testimony of the removal of corpses from the gas chamber, showing the gastight door with the metal protection over the peephole, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0149.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor steps out of The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0143.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gastight door (front and back) and a gas column used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0139.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plater cast of Vrba amd Wetzler's plan of a crematorium is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0092.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale plaster model of a hemispherical grid protecting the peephole on the inside of a gastight door, found by soldiers of the Red Army in Auschwitz in 1945, is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0085.jpg
  • VENICE, ITALY - 4 JUNE 2016: Full-scale plaster models of Zyklon pellets in a gas column used in Auschwitz are seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0072.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of a Zyklon B can is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0063.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors walk through the Evidence Room, between the "design workshop : sa" exhibit room (seen here) and Souto Moura Arquitectos exhibit room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0429.jpg
  • VENICE, ITALY - 4 JUNE 2016: An animation of the Case 3 study by Forensic Architecture on the "Left-to-die boat", the deadly drift of a migrants’ boat in the Central Mediterranean, is projected here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0389.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors look at the lightbox on the Case 2 study on Israel's 2014 attack on Rafah, Gaza, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0352.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0343.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0329.jpg
  • VENICE, ITALY - 4 JUNE 2016: The full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, is here in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0315.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors are here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0224.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of a gas mask is seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0221.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0185.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the palster model of a gastight doow in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0177.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including full-scale models of (L-R) a gas column, a gas hatch and a gastight door used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0172.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor is here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0168.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including the full-scale model of a gas hatch (center) used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0056.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Evidence Room with plaster forensic details, including the full-scale model of a gas hatch (left) used in Auschwitz, is seen here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0048.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster cast of the plan of Crematorium 3 of Auschwitz, drawn by David Olère in 1945, is  seen here in The Evidence Room at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
The Evidence Room exhibition, presented by the University of Waterloo lead by Canadian scholar Robert Jan Van Pelt and, is a reconstruction of key architectural elements of Auschwitz that disproved the Holocaust denier David Irving who had sued American scholar Deborah Lipstadt and her publisher for libel.  In her 1994 book Denying the Holocaust: The Growing Assault on Truth and Memory, Lipstadt counted Irving among Hitler apologists and revisionists seeking to downplay the scale of the Holocaust and the systematic murder of six million European Jews. <br />
<br />
Robert Jan van Pelt served as the expert witness in the trial, and his report became one of the sources of inspiration for the new discipline of architectural forensics, which is located at the intersection of architecture, technology, history, law and human rights.<br />
<br />
The exhibition, which force us to examine architecture used for evil – and designed by architects complicit in crimes against humanity, reconstructs some of those forensic details, including full-scale models of a gas column, a gas door, and a wall section with gas-tight hatch – all of which were shown in court to prove beyond a reasonable doubt that Auschwitz was, as Van Pelt says, “a purposefully designed factory of death, equipped with large, homicidal gas chambers and massive incinerators.”
    CIPG_20160604_NYT-Evidence_M3_0167.jpg
  • VENICE, ITALY - 4 JUNE 2016: The Case 3 study on Israel's 2014 attack on Rafah, Gaza, is shown here on a lightbox in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The team analysed video footage from social media of Israeli military attacks on Gaza in 2014 to prove the army was using one-tonne bombs in heavily populated residential areas, resulting in high civilian casualties. By overlaying images of bomb clouds from multiple viewpoints, they generated a 3D model and triangulated the exact location of the strike.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0346.jpg
  • VENICE, ITALY - 4 JUNE 2016: Visitors looks at the full-scale mock-up of a room bombed-out from a US army drone strike in Pakistan,  with strings extending from the shrapnel pock-marks in the walls back into the centre of the room to determine the point of explosion of the bomb, in the exhibition presented by Forensic Architecture at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016. The model proves the damage was the result of an “architectural missile”, capable of being detonated on a specific floor of a building, while the “shadows” – where there are no shrapnel marks (marked here in red) – denote the locations of the victims killed in the attack.<br />
<br />
Forensic Architecture is a reaearch agency based in London. It engages with the production and presentation of spatial evidence in the context of human rights violations, armed conflict and political struggles. Composed of architects, artists, filmmakers, journalists, lawyers and scientists, it uses architectural analysis, models and animations to construct evidence files for international prosecutors, truth commissions, human rights investigations and UN enquiries.<br />
<br />
In its exhibition Forensic Architecture presents from four recent investigations. Undertaken at different scales, these cases extend from the micro-analysis  of a single ruin from a drone strike in Miranshah, Pakistan, to the urban analysis of the city of Rafah in Gaza under Israeli attack; the death of refugees and migrants in the Mediterrannean Sea to the environmental violence along the shifting climatic frontiers of desertification and deforestations.
    CIPG_20160604_NYT-Evidence_M3_0309.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0248.jpg
  • VENICE, ITALY - 4 JUNE 2016:  The entrance to the central pavillon of the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
The theme of the Biennale titles "Reporting from the Front", selected by 2016 director Alejandro Aravena, is an investigation into the role of architects in the battle to improve the living conditions for people all over the world. The theme aims to focus on architecture which works within the constraints presented by a lack of resources, and those designs which subvert the status quo to produce architecture for the common good - no matter how small the success.
    CIPG_20160604_NYT-Evidence_M3_0453.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0241.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster casts hang on a wall in Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0276.jpg
  • VENICE, ITALY - 4 JUNE 2016: The plaster model of the city of Parma is here in Renato Rizzi's "Orphan Ground" exhition at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0252.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor photographs the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0239.jpg
  • VENICE, ITALY - 4 JUNE 2016: A visitor looks at the plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0233.jpg
  • VENICE, ITALY - 4 JUNE 2016: Plaster models of Renato Rizzi's "Orphan Ground" exhition are here at the 15th Venice Architecture Biennale in Venice, Italy, on June 4th 2016.<br />
<br />
Rizzi says: "The four projects in section show us, beyond the concrete needs, the internal movements of invisible powers. The 118 models [of this exhibition] hang on the wall to show us how the matter is the aspiration to soul and vice versa.
    CIPG_20160604_NYT-Evidence_M3_0272.jpg
  • CERVETERI, ITALY - 14 JULY 2022: (R-L) The Attic red-figure krater, signed by Euxitheos as potter and by Euphronios as vase painter (510-500 BC), the kylix or drinking cup by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance, and an empty display which expects to allocate a lidded White on Red pithos decorated with the blinding of Polyphemos (a pithos, or large vessel, is an Etruscan work from the seventh century BCE recently recovered from the Getty Museum) are seen here in the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A kylix or drinking cup by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance, is on display here at the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A visitor looks at the kylix or drinking cup by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance, on display here at the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • PALERMO, ITALY - 30 MAY 2018: at the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2766.jpg
  • PALERMO, ITALY - 30 MAY 2018: at the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3452.jpg
  • PALERMO, ITALY - 30 MAY 2018:  A reproduction of s portion of Caravaggio's "Nativity" (right) and in its original size (left) are seen here in a room adjacent the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018. According to a Mafia turncoat, Caravaggio's "Nativity" was cut into several pieces because it couldn't sell otherwise.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2873.jpg
  • Polsi, Italy - 2 September, 2012: Pilgrims and a local band waits for the end of the mass by the Sanctuary of Our Lady of Polsi to  start the religious procession in Polsi, a mafia stronghold in Calabria, Italy, on September 2nd, 2012. <br />
The Sanctuary of Our Lady of Polsi, also known as the Sanctuary of Santa Maria di Polsi or Our lady of the Mountain, is a Christian sanctuary in the heart of the Aspromonte mountains, near San Luca in Calabria. The chiefs of the Calabrian criminal consortium, the 'Ndrangheta, have held annual meetings at the Sanctuary. According to the pentito Cesare Polifroni – a former member turned state witness – at these meetings, every boss must give account of all the activities carried out during the year and of all the most important facts taking place in his territory such as kidnappings, homicides, etc.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120902_NYT_Calabria__MG_9950.jpg
  • CERVETERI, ITALY - 14 JULY 2022: A report by Sotheby's lists some of the artifcacts (highlighted) now exhibited at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • PALERMO, ITALY - 30 MAY 2018: A reproduction of Caravaggio's "Nativity" is seen here in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180531_NYT-Caravaggio_M3_3627.jpg
  • PALERMO, ITALY - 30 MAY 2018: A reproduction of Caravaggio's "Nativity" is seen here in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180531_NYT-Caravaggio_M3_3619.jpg
  • PALERMO, ITALY - 30 MAY 2018: Rosy Bindi, President of the Antimafia Commission,  is seen here in the Oratory of San Lorenzo where she presented the results of an investigation on Caravaggio's "Nativity" stolen in 1969, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3530.jpg
  • PALERMO, ITALY - 30 MAY 2018: (R-L) Rosy Bindi (President of the Antimafia Commission), Leoluca Orlando (Mayor of Palermo) and Ludovico Gippetto (President of a Palermo cultural association called Extroart) are seen here in the Oratory of San Lorenzo, where the Antimafia Commission presented the results of an investigation on Caravaggio's "Nativity" stolen in 1969, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3509.jpg
  • PALERMO, ITALY - 30 MAY 2018: The Antimafia Commission presents the results of an investigation on Caravaggio's "Nativity" stolen in 1969, here at the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3452...jpg
  • PALERMO, ITALY - 30 MAY 2018: Mayor of Palermo Leoluca Orlando (left) and President of the Antimafia Commission Rosy Bindi (center) are seen here in the Oratory of San Lorenzo, where the Antimafia Commission will present the results of an investigation on Caravaggio's "Nativity" stolen in 1969, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3387.jpg
  • PALERMO, ITALY - 30 MAY 2018: Mayor of Palermo Leoluca Orlando is seen here in the Oratory of San Lorenzo, where the Antimafia Commission will present the results of an investigation on Caravaggio's "Nativity" stolen in 1969, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3324.jpg
  • PALERMO, ITALY - 30 MAY 2018: Mayor of Palermo Leoluca Orlando (2nd from right) is seen here in the Oratory of San Lorenzo, where the Antimafia Commission will present the results of an investigation on Caravaggio's "Nativity" stolen in 1969, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3316.jpg
  • PALERMO, ITALY - 30 MAY 2018: Ludovico Gippetto, President of a Palermo cultural association called Extroart, is seen here as he searches his archive in Palermo, Italy, on May 30th 2018.<br />
<br />
Mr. Gippetto has also adopted Caravaggio’s “Nativity” for his project “Wanted,” a publicity campaign that involves periodically peppering Palermo with posters of looted artworks on the premise that the better known a work of art is, the harder it is to sell on the black market. <br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3219.jpg
  • PALERMO, ITALY - 30 MAY 2018: Ludovico Gippetto, President of a Palermo cultural association called Extroart, poses for a portrait in his studio in Palermo, Italy, on May 30th 2018.<br />
<br />
Mr. Gippetto has also adopted Caravaggio’s “Nativity” for his project “Wanted,” a publicity campaign that involves periodically peppering Palermo with posters of looted artworks on the premise that the better known a work of art is, the harder it is to sell on the black market. <br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3186.jpg
  • PALERMO, ITALY - 30 MAY 2018: Ludovico Gippetto, President of a Palermo cultural association called Extroart, poses for a portrait in his studio in Palermo, Italy, on May 30th 2018.<br />
<br />
Mr. Gippetto has also adopted Caravaggio’s “Nativity” for his project “Wanted,” a publicity campaign that involves periodically peppering Palermo with posters of looted artworks on the premise that the better known a work of art is, the harder it is to sell on the black market. <br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_3166.jpg
  • PALERMO, ITALY - 30 MAY 2018: Bernardo Tortorici di Raffadali, President of the "Amici dei Musei Siciliani" association, poses for a portrait by   a reproduction of Caravaggio's "Nativity", here in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018. <br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2999.jpg
  • PALERMO, ITALY - 30 MAY 2018: Stucco figures are seen here in the Oratory of San Lorenzo, where Caravaggio's "Nativity" was stole in 1969, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2940.jpg
  • PALERMO, ITALY - 30 MAY 2018: Bernardo Tortorici di Raffadali, President of the "Amici dei Musei Siciliani" association, poses for a portrait by   a reproduction of Caravaggio's "Nativity", here in a room adjacent the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018. <br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2916.jpg
  • PALERMO, ITALY - 30 MAY 2018:  A reproduction of s portion of Caravaggio's "Nativity" is seen here in a room adjacent the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018. According to a Mafia turncoat, Caravaggio's "Nativity" was cut into several pieces because it couldn't sell otherwise.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2863.jpg
  • PALERMO, ITALY - 30 MAY 2018: A detail of the original wooden frame from which Caraveggio's "Nativity" was cut, here in a chapel adjacent the oratory where it was stolen, in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2818.jpg
  • PALERMO, ITALY - 30 MAY 2018: A detail of the original wooden frame from which Caraveggio's "Nativity" was cut, here in a chapel adjacent the oratory where it was stolen, in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2810.jpg
  • PALERMO, ITALY - 30 MAY 2018: A detail of the original wooden frame from which Caraveggio's "Nativity" was cut, here in a chapel adjacent the oratory where it was stolen, in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2796.jpg
  • PALERMO, ITALY - 30 MAY 2018: A detail of the original wooden frame from which Caraveggio's "Nativity" was cut, here in a chapel adjacent the oratory where it was stolen, in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2777.jpg
  • PALERMO, ITALY - 30 MAY 2018: The original wooden frame of Caraveggio's stolen "Nativity" (right) hangs next to a Nativity commissioned to a contemporary artist by the cultural association "Amici dei Musei Siciliani" in a chapel adjacent the oratory where it was stolen, in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2766...jpg
  • PALERMO, ITALY - 30 MAY 2018: The original wooden frame of Caraveggio's stolen "Nativity" hangs in a chapel adjacent the oratory where it was stolen, in the Oratory of San Lorenzo, in Palermo, Italy, on May 30th 2018.<br />
<br />
In October 1969 thieves broke into the Oratory of San Lorenzo, a small chapel in Palermo’s then dilapidated Kalsa quarter, and made off with one of the city’s artistic masterpieces: Caravaggio’s “Nativity” altarpiece.<br />
<br />
Nearly 50 years after it was stolen, possible evidence suggests that Caravaggio Nativity may have been cut up and sold, according to Gaetano Grado, a Mafia. turncoat. The Antimafia Commission checked out on various fronts Mr. Grado's accounts, and Rosy Bindi, the president of the Antimafia Commission, presented the findings of the commission — published in May — at the Oratory where the Nativity once hung.
    CIPG_20180530_NYT-Caravaggio_M3_2753.jpg
  • REGGIO CALABRIA, ITALY - 15 NOVEMBER 2016: Enrico Interdonato, a 32-year old volunteer psychologist and founding member of the anti-racket association Addio Pizzo in Messina, the Sicilian town across the strait from Reggio Calabria, poses for a portrait in Reggio Calabria, Italy, on November 15th 2016.<br />
<br />
In 2013, after a decade-long work with street boys, Mr. Interdonato started tutoring a 15-year old boy who came from an ‘Ndrangheta family. They spent time together in the disco and with other young men and women in the city, and later also with associations and mafia victims’ families, elaborating together the real impact of reckless criminal actions.<br />
<br />
We are a bit like David against Golia,” he said referring to the two judges on juvenile cases in the city with the highest criminal concentration in Italy.<br />
“But the ’Ndrangheta infiltrates our community and we try to infiltrate them culturally, making their children free to choose,” he said.<br />
<br />
Since 2012, judges from Reggio Calabria court for minors have started a program limiting or suspending parental responsibility for incriminated families, moving children to a different Italian region and trying to create the conditions for an ordinary childhood there. Once they turn 18, they can choose whether to go back to Calabria or not.<br />
<br />
When evidence shows that children are physically or psychologically endangered by their families’ Mafioso behavior, judges apply the same legislation used in Italy against abusive parents to parents from the ‘Ndrangheta.<br />
<br />
So far, the program has involved more than 40 minors, boys and girls aged 12 to 16, and out of those who have already returned to their lives, none has committed a crime.<br />
<br />
Calabria has a very high criminal concentration. Since the early 1990s, Reggio Calabria juvenile court sentenced about 100 minors for mafia association and 50 for murder—or attempted murder.
    CIPG_20161115_NYT-Ndrangheta_5M3_573...jpg
  • REGGIO CALABRIA, ITALY - 15 NOVEMBER 2016: Enrico Interdonato, a 32-year old volunteer psychologist and founding member of the anti-racket association Addio Pizzo in Messina, the Sicilian town across the strait from Reggio Calabria, poses for a portrait in Reggio Calabria, Italy, on November 15th 2016.<br />
<br />
In 2013, after a decade-long work with street boys, Mr. Interdonato started tutoring a 15-year old boy who came from an ‘Ndrangheta family. They spent time together in the disco and with other young men and women in the city, and later also with associations and mafia victims’ families, elaborating together the real impact of reckless criminal actions.<br />
<br />
We are a bit like David against Golia,” he said referring to the two judges on juvenile cases in the city with the highest criminal concentration in Italy.<br />
“But the ’Ndrangheta infiltrates our community and we try to infiltrate them culturally, making their children free to choose,” he said.<br />
<br />
Since 2012, judges from Reggio Calabria court for minors have started a program limiting or suspending parental responsibility for incriminated families, moving children to a different Italian region and trying to create the conditions for an ordinary childhood there. Once they turn 18, they can choose whether to go back to Calabria or not.<br />
<br />
When evidence shows that children are physically or psychologically endangered by their families’ Mafioso behavior, judges apply the same legislation used in Italy against abusive parents to parents from the ‘Ndrangheta.<br />
<br />
So far, the program has involved more than 40 minors, boys and girls aged 12 to 16, and out of those who have already returned to their lives, none has committed a crime.<br />
<br />
Calabria has a very high criminal concentration. Since the early 1990s, Reggio Calabria juvenile court sentenced about 100 minors for mafia association and 50 for murder—or attempted murder.
    CIPG_20161115_NYT-Ndrangheta_5M3_573...jpg
  • REGGIO CALABRIA, ITALY - 15 NOVEMBER 2016: Enrico Interdonato, a 32-year old volunteer psychologist and founding member of the anti-racket association Addio Pizzo in Messina, the Sicilian town across the strait from Reggio Calabria, poses for a portrait in Reggio Calabria, Italy, on November 15th 2016.<br />
<br />
In 2013, after a decade-long work with street boys, Mr. Interdonato started tutoring a 15-year old boy who came from an ‘Ndrangheta family. They spent time together in the disco and with other young men and women in the city, and later also with associations and mafia victims’ families, elaborating together the real impact of reckless criminal actions.<br />
<br />
We are a bit like David against Golia,” he said referring to the two judges on juvenile cases in the city with the highest criminal concentration in Italy.<br />
“But the ’Ndrangheta infiltrates our community and we try to infiltrate them culturally, making their children free to choose,” he said.<br />
<br />
Since 2012, judges from Reggio Calabria court for minors have started a program limiting or suspending parental responsibility for incriminated families, moving children to a different Italian region and trying to create the conditions for an ordinary childhood there. Once they turn 18, they can choose whether to go back to Calabria or not.<br />
<br />
When evidence shows that children are physically or psychologically endangered by their families’ Mafioso behavior, judges apply the same legislation used in Italy against abusive parents to parents from the ‘Ndrangheta.<br />
<br />
So far, the program has involved more than 40 minors, boys and girls aged 12 to 16, and out of those who have already returned to their lives, none has committed a crime.<br />
<br />
Calabria has a very high criminal concentration. Since the early 1990s, Reggio Calabria juvenile court sentenced about 100 minors for mafia association and 50 for murder—or attempted murder.
    CIPG_20161115_NYT-Ndrangheta_5M3_572...jpg
  • REGGIO CALABRIA, ITALY - 15 NOVEMBER 2016: Enrico Interdonato, a 32-year old volunteer psychologist and founding member of the anti-racket association Addio Pizzo in Messina, the Sicilian town across the strait from Reggio Calabria, poses for a portrait in Reggio Calabria, Italy, on November 15th 2016.<br />
<br />
In 2013, after a decade-long work with street boys, Mr. Interdonato started tutoring a 15-year old boy who came from an ‘Ndrangheta family. They spent time together in the disco and with other young men and women in the city, and later also with associations and mafia victims’ families, elaborating together the real impact of reckless criminal actions.<br />
<br />
We are a bit like David against Golia,” he said referring to the two judges on juvenile cases in the city with the highest criminal concentration in Italy.<br />
“But the ’Ndrangheta infiltrates our community and we try to infiltrate them culturally, making their children free to choose,” he said.<br />
<br />
Since 2012, judges from Reggio Calabria court for minors have started a program limiting or suspending parental responsibility for incriminated families, moving children to a different Italian region and trying to create the conditions for an ordinary childhood there. Once they turn 18, they can choose whether to go back to Calabria or not.<br />
<br />
When evidence shows that children are physically or psychologically endangered by their families’ Mafioso behavior, judges apply the same legislation used in Italy against abusive parents to parents from the ‘Ndrangheta.<br />
<br />
So far, the program has involved more than 40 minors, boys and girls aged 12 to 16, and out of those who have already returned to their lives, none has committed a crime.<br />
<br />
Calabria has a very high criminal concentration. Since the early 1990s, Reggio Calabria juvenile court sentenced about 100 minors for mafia association and 50 for murder—or attempted murder.
    CIPG_20161115_NYT-Ndrangheta_5M3_570...jpg
  • REGGIO CALABRIA, ITALY - 15 NOVEMBER 2016: Enrico Interdonato, a 32-year old volunteer psychologist and founding member of the anti-racket association Addio Pizzo in Messina, the Sicilian town across the strait from Reggio Calabria, poses for a portrait in Reggio Calabria, Italy, on November 15th 2016.<br />
<br />
In 2013, after a decade-long work with street boys, Mr. Interdonato started tutoring a 15-year old boy who came from an ‘Ndrangheta family. They spent time together in the disco and with other young men and women in the city, and later also with associations and mafia victims’ families, elaborating together the real impact of reckless criminal actions.<br />
<br />
We are a bit like David against Golia,” he said referring to the two judges on juvenile cases in the city with the highest criminal concentration in Italy.<br />
“But the ’Ndrangheta infiltrates our community and we try to infiltrate them culturally, making their children free to choose,” he said.<br />
<br />
Since 2012, judges from Reggio Calabria court for minors have started a program limiting or suspending parental responsibility for incriminated families, moving children to a different Italian region and trying to create the conditions for an ordinary childhood there. Once they turn 18, they can choose whether to go back to Calabria or not.<br />
<br />
When evidence shows that children are physically or psychologically endangered by their families’ Mafioso behavior, judges apply the same legislation used in Italy against abusive parents to parents from the ‘Ndrangheta.<br />
<br />
So far, the program has involved more than 40 minors, boys and girls aged 12 to 16, and out of those who have already returned to their lives, none has committed a crime.<br />
<br />
Calabria has a very high criminal concentration. Since the early 1990s, Reggio Calabria juvenile court sentenced about 100 minors for mafia association and 50 for murder—or attempted murder.
    CIPG_20161115_NYT-Ndrangheta_5M3_568...jpg
  • REGGIO CALABRIA, ITALY - 15 NOVEMBER 2016: Enrico Interdonato, a 32-year old volunteer psychologist and founding member of the anti-racket association Addio Pizzo in Messina, the Sicilian town across the strait from Reggio Calabria, poses for a portrait in Reggio Calabria, Italy, on November 15th 2016.<br />
<br />
In 2013, after a decade-long work with street boys, Mr. Interdonato started tutoring a 15-year old boy who came from an ‘Ndrangheta family. They spent time together in the disco and with other young men and women in the city, and later also with associations and mafia victims’ families, elaborating together the real impact of reckless criminal actions.<br />
<br />
We are a bit like David against Golia,” he said referring to the two judges on juvenile cases in the city with the highest criminal concentration in Italy.<br />
“But the ’Ndrangheta infiltrates our community and we try to infiltrate them culturally, making their children free to choose,” he said.<br />
<br />
Since 2012, judges from Reggio Calabria court for minors have started a program limiting or suspending parental responsibility for incriminated families, moving children to a different Italian region and trying to create the conditions for an ordinary childhood there. Once they turn 18, they can choose whether to go back to Calabria or not.<br />
<br />
When evidence shows that children are physically or psychologically endangered by their families’ Mafioso behavior, judges apply the same legislation used in Italy against abusive parents to parents from the ‘Ndrangheta.<br />
<br />
So far, the program has involved more than 40 minors, boys and girls aged 12 to 16, and out of those who have already returned to their lives, none has committed a crime.<br />
<br />
Calabria has a very high criminal concentration. Since the early 1990s, Reggio Calabria juvenile court sentenced about 100 minors for mafia association and 50 for murder—or attempted murder.
    CIPG_20161115_NYT-Ndrangheta_5M3_567...jpg
  • REGGIO CALABRIA, ITALY - 15 NOVEMBER 2016: Roberto Di Bella, the President of the Court for Minors of Reggio Calabria who started a program limiting or suspending parental responsability for incriminated families of the ‘Ndrangheta (the organized crime centered in the Souther Italian region of Calabria), poses for a portrait in his office in Reggio Calabria, Italy, on November 15th 2016.<br />
<br />
Since 2012, judges from Reggio Calabria court for minors have started a program limiting or suspending parental responsibility for incriminated families, moving children to a different Italian region and trying to create the conditions for an ordinary childhood there. Once they turn 18, they can choose whether to go back to Calabria or not.<br />
<br />
When evidence shows that children are physically or psychologically endangered by their families’ Mafioso behavior, judges apply the same legislation used in Italy against abusive parents to parents from the ‘Ndrangheta.<br />
<br />
So far, the program has involved more than 40 minors, boys and girls aged 12 to 16, and out of those who have already returned to their lives, none has committed a crime.<br />
<br />
Calabria has a very high criminal concentration. Since the early 1990s, Reggio Calabria juvenile court sentenced about 100 minors for mafia association and 50 for murder—or attempted murder.<br />
<br />
After years of work with Mr. Di Bella and other prosecutors, the Justice Ministry is now ready to standardize the procedure. Once local authorities sign the protocol, it'll become effective.<br />
<br />
“Sons follow their fathers,” he said. “But the state can’t allow that children are educated to be criminals.”<br />
<br />
In his project, Mr. Di Bella hoped to see the “future of the fight against mafias,” he said.<br />
<br />
But he admitted that the project is now based on his judges’ work and on volunteers who lend their professional skills almost for free.<br />
<br />
“We need specialists,” he said referring psychologists, host families and specialized judges. “We need norms, fund
    CIPG_20161115_NYT-Ndrangheta_5M3_558...jpg
  • Castellace di Oppido Mamertina, Italy - 3 September, 2012: Francesco, a 32 years old worker for the non-profit organization Libera Terra, removes the burned roots of olive trees set on fire by the 'Ndrangheta (a Mafia-type criminal organisation based in Calabria) with a crane, 3 days after a digger was set on fire in the same field in Castellace di Oppido Mamertina, Italy, on September 3rd, 2012. Libera terra, which is a non profit organisation uses the land that has been confiscated to mafia bosses to produce a range of organic foods and wines, including olive oil, pasta, marmalades, jams, legumes and preserves as well as a large selection of typically southern Italian produce.<br />
<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120903_NYT_Calabria__MG_0179.jpg
  • Polsi, Italy - 2 September, 2012: Francesco, 15, and Giuseppe, 14, play accordion and tambourine on their way back from the Sanctuary of Our Lady of Polsi, a mafia stronghold in Calabria, Italy, on September 2nd, 2012. <br />
The Sanctuary of Our Lady of Polsi, also known as the Sanctuary of Santa Maria di Polsi or Our lady of the Mountain, is a Christian sanctuary in the heart of the Aspromonte mountains, near San Luca in Calabria. The chiefs of the Calabrian criminal consortium, the 'Ndrangheta, have held annual meetings at the Sanctuary. According to the pentito Cesare Polifroni – a former member turned state witness – at these meetings, every boss must give account of all the activities carried out during the year and of all the most important facts taking place in his territory such as kidnappings, homicides, etc.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120902_NYT_Calabria__MG_9765.jpg
  • San Luca, Italy - 2 September, 2012: View of the town of San Luca, a mafia stronghold in Calabria, Italy, on September 2nd, 2012. San Luca, in the words of a study published in 2005 by Italy's domestic intelligence service, is the cradle of the 'Ndrangheta and its epicentre.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120902_NYT_Calabria__MG_9654.jpg
  • Gioia Tauro, Italy -1 September, 2012: The view of the valley landscape of Gioia Tauro by the port (on the left) in Gioia Tauro, a mafia stronghold in Italy, on September 1st, 2012. <br />
<br />
The current mayor of Gioia Tauro, Renato Bellofiore, was elected in 2010 after the former mayor and deputy mayor, Giorgio Dal Torrione and Rosario Schiavone, were arrested on Mafia charges in 2008. Both had been forced to step down when the city council was dissolved on suspicion of Mafia infiltration. Gioia Tauro is a city of 19,000 people built on an ancient Greek necrapolis and that today has the largest seaport in Italy and the sevent largest container port in Europe with its extension of 4,646 meters. Because the port is not connected to adeguate roads or rails, the ships mostly transfer containers to smaller vessels and little economic activity stays local. To authorities, the port is best known as the first point of entry for most of the cocaine that enters Europe from South America. In a routine rais earlier this month, authorities seized 176 kilos of pure cocaine with an estimated street value of 38 million euros.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120901_NYT_Calabria__MG_9535.jpg
  • Rosarno, Italy - 1 September, 2012: A man on a Vespa passes by a storage area in Rosarno, Italy, a mafia stronghold on September 1st, 2012.<br />
<br />
Rosarno is an agricultural area best known for the violent race riots that erupted here in January 2010. and for being a hotbed of the 'Ndrangheta, a Mafia-type criminal organisation based in Calabria. The local 'Ndrangheta dominates the fruit and vegetable businesses in the area, according to Francesco Forgione, a former head of Italy's parliamentary Antimafia Commission. In December 2008, the entire town council was dissolved on orders from the central government and replaced by a prefectoral commissioner because it had been infiltrated by 'Ndrangheta members and their known associates.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120901_NYT_Calabria__MG_9421.jpg
  • Rosarno, Italy - 31 August, 2012: Antonio Pioli, 62, the father of Fabrizio Pioli, a 38 years old man who was killed in February 2012 and whose body is still missing in  Rosano, Italy, a mafia stronghold on August 31, 2012. Fabrizio Pioli was apparently killed by the family of Simona Napoli, the married woman who Fabrizio had an affair with and whose father is a fugitive mafia boss.<br />
<br />
Rosarno is an agricultural area best known for the violent race riots that erupted here in January 2010. and for being a hotbed of the 'Ndrangheta, a Mafia-type criminal organisation based in Calabria. The local 'Ndrangheta dominates the fruit and vegetable businesses in the area, according to Francesco Forgione, a former head of Italy's parliamentary Antimafia Commission. In December 2008, the entire town council was dissolved on orders from the central government and replaced by a prefectoral commissioner because it had been infiltrated by 'Ndrangheta members and their known associates.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120831_NYT_Calabria__MG_9220.jpg
  • Gioia Tauro, Italy - 31 August, 2012: Mayor of Gioia Tauro Renato Bellofiore, 44, complains about the debt left by his predecessors, in Gioia Tauro, Italy, on August 31, 2012. Mr Bellofiore was elected in 2010 after the former mayor and deputy mayor, Giorgio Dal Torrione and Rosario Schiavone, were arrested on Mafia charges in 2008. Both had been forced to step down when the city council was dissolved on suspicion of Mafia infiltration. Gioia Tauro is a city of 19,000 people built on an ancient Greek necrapolis and that today has the largest seaport in Italy and the sevent largest container port in Europe with its extension of 4,646 meters. Because the port is not connected to adeguate roads or rails, the ships mostly transfer containers to smaller vessels and little economic activity stays local. To authorities, the port is best known as the first point of entry for most of the cocaine that enters Europe from South America. In a routine rais earlier this month, authorities seized 176 kilos of pure cocaine with an estimated street value of 38 million euros.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120831_NYT_Calabria__MG_8899.jpg
  • Reggio Calabria, Italy - 31 August, 2012: A surveillance monitor in the office of anti-mafia prosecutor Nicola Gratteri films the armored entrance door of his office in the courthouse of Reggio Calabria, Italy, on August 31, 2012. In June Mr Gratteri found out about a plot to kill him. A mafia boss-turned-state witness had confessed that a prominent family belonging to the Calabrian mafia ‘Ndrangheta had recently purchased 36 pounds of plastic explosives, with which they’d planned to blow up Gratteri and his security escort.<br />
<br />
The Libri gang of Reggio Calabria has managed to infiltrate even the construction of the new palace of justice, not through the traditional system of bribes, but by legally signing for the delivery of services and labor that was controlled and taxed by the mob.<br />
<br />
Calabria is one of the poorest Italian regions which suffers from lack of basic services (hospitals without proper equipment, irregular electricity and water), the product of disparate political interests vying for power. The region is dominated by the 'Ndrangheta (pronounced en-Drang-get-A), which authorities say is the most powerful in Italy because it is the welthiest and best organized.<br />
<br />
The region today has nearly 20 percent unemployment, 40 percent youth unemployment and among the lowest female unemployment and broadband Internet levels in Italy. Business suffer since poor infrastructure drives up transport costs.<br />
<br />
Last summer the European Union's anti-fraud office demanded that Italy redirect 380 million euros in structural funding away from the A3 Salerno - Reggio Calabria highway after finding widespread evidence of corruption in the bidding processes.
    CIPG_20120831_NYT_Calabria__MG_8766.jpg
  • CERVETERI, ITALY - 14 JULY 2022: (L-R) Dr. Carmelo Rizzo and Dr. Alberto Villari of the Archeological Museum of Cerveteripose for a portrait in Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: (L-R) Dr. Carmelo Rizzo and Dr. Alberto Villari of the Archeological Museum of Cerveteripose for a portrait in Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The exhibition of the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The exhibition of the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The Attic red-figure krater, signed by Euxitheos as potter and by Euphronios as vase painter (510-500 BC) is seen here at the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: The Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: A man walks by the Archeological Museum of Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
  • CERVETERI, ITALY - 14 JULY 2022: Monica Arduini (53), land protection assistantat of Cerveteri, poses for a portrait at the Case Grifoni, a civic museum in Cerveteri, once an Etruscan stronghold known as Caere, some 25 kilometers north of Rome, Italy, on July 14th 2022.<br />
<br />
Arguably Italy’s biggest prize in the war against looting antiquities, is a sixth-century B.C.E. red-figure krater, had been looted in 1971 from a Cerveteri tomb and sold a year later to the Metropolitan Museum of Art for $1 million, an unprecedented sum at that time. The Met relinquished the krater in 2006, and after a stint at the Villa Giulia, it is now a permanent addition to Cerveteri’s archaeological museum, along with a kylix or drinking cup also by Euphronius that the Getty Museum returned to Italy in 1999 after evidence emerged of its murky provenance.<br />
<br />
Rescued art is a broad term, it turns out, showcasing a myriad of ways in which artworks can be salvaged, from recovering artworks from the rubble of earthquakes and other national disasters, fishing for ancient shipwrecks in the Mediterranean, or restoring fragile masterpieces at the hands of Italy’s expert restorers.
    CIPG_20220714_NYT-Repatriation_A7IV-...jpg
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