Abstract Can we interpret fascist buildings beyond the circumstances of their creation, addressing their multiple afterlives while acknowledging their shameful origin? Federico Baronello’s photographic project EUR_Libya (2011–2013) offers an answer. He photographed iconic fascist buildings in Rome but digitally altered them to include Libyan flags, and logos of the Libyan National Bank and of Italian corporations enmeshed in the economy of Italian former colonies. I address Baronello’s aesthetic choices as a questioning of notions of centre-periphery in the narrative on Italian fascism. Baronello’s project gives visual form to the fascist dream of the Mediterranean as ‘Mare Nostrum’ or ‘Our Sea’, while showing its post-war legacy in the economic relations between Libya and Italy. I also analyse how EUR_Libya challenges architectural photography and its pretences to documentary truth, as well as photomontage, a medium with a loaded history as an avant-garde tool also commonly used in Italian fascist propaganda.

中文翻译：

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不显眼

摘要 我们能否超越其创造环境来解释法西斯建筑，在承认其可耻起源的同时解决其多重来世问题？Federico Baronello 的摄影项目 EUR_Libya (2011–2013) 给出了答案。他拍摄了罗马标志性的法西斯建筑，但对它们进行了数字化改造，以包括利比亚国旗、利比亚国家银行和意大利公司的标志，这些标志与意大利前殖民地的经济息息相关。我将 Baronello 的美学选择视为对意大利法西斯主义叙事中的中心边缘概念的质疑。Baronello 的项目为地中海的法西斯梦想提供了视觉形式，即“Mare Nostrum”或“我们的海”，同时展示了利比亚和意大利之间的经济关系中的战后遗产。