“The early 21st century exhibits a strange ruinophilia, a fascination for ruins that goes beyond postmodern quotation marks. In our increasingly digital age, ruins appear to be an endangered species, physical embodiments of modern paradoxes reminding us of the blunders of modern teleologies and technologies alike, and of the riddles of human freedom.” – Svetlana Boym
Looking at the ruins, traces of a lost grandiosity covered with dust, sometimes we hear ghost echoes of the places in a time when they had life and we see in them the past, and, who knows, also the future. What remains? What is history? What exists? In the ruins, often it seems that we are in another dimension, in another universe, and because the speed of contemporary life turns everything in an event, nothing seems to really remain. Somehow, it’s like we get in the Tarkovsy’s zone. For Brian Dillon, the ruins remind us the past, warn us of the future and underline the passage of time. Despite the decadent and irreparable state somehow the ruins survive us: ruins are part of the long history of the fragment, but the ruin is a fragment with a future; it will live on after us despite the fact that it remind us too often the lost wholeness or perfection (Dillon (2011): page 11).Often, the pace of modernity doesn’t allow us to realize the existence of these places, and although many of them bear the weight of the history of the city we don’t take care for them, we don’t consider what they have to teach us.