Location of the interview: Italy - Turin - Centre of Studies Altreitalie, Turin
Provenance of the intervieew: Peru - Lima
Name of the interviewer: Hernández Nova, Leslie Nancy

Piwik was born in the district of Lince in the province of Lima. His mother emigrated to Italy in 1994, leaving Piwik with his father until he was able to join her when he was 12. One of his uncles, who had been in Italy since 1989, helped her emigrate after she lost her job at the Peruvian Ministry of Education. He is one of the few interviewees to tell about the episode of terrorism in Peru. He has a maternal great-grandfather originally from Italy (Roggero) - I'm not sure if you're talking about Piwik or his uncle here. The production of the witness correspondes as following: 1 drawn map of Peru on an A3 sheet; 1 timeline entitled "Peru-Italy study trajectory" on an A3 sheet; 1 individual's photography project exploring what it means to live in Europe (21 digital photographs)

Spanish

BABE-4; BABE-5

Piwik was interviewed following his participation in a workshop for Peruvian youths (see BABE-004 and 005). It was a photography-based workshop led by Mexican photographer Edith Vázquez and organized by Leslie Hernández Nova by envolve some of the people already interviewed. Piwik carried out a photography project tied to the larger "Stare in Europa" project (proposed by Leslie Hernández Nova). His project made use of archival research, which was conducted with Leslie Hernández Nova's help in Turin as well as personal photos in order to build a triptych inspired by his Turin neighborhood, Cit Turin. Piwik expressed his interest in exploring the urban space of the neighborhood that links his Italian roots with his experience by focusing on two specific spaces: the Nicola Grosa Gardens and Piazza Luigi Martini (also known as Piazza Benefica). He wanted to represent the past and the personal present through these spaces by juxtaposing old archival images with his own photos in order to give shape to an urban emotion that is at once personal as well as collective and social. The photographs were selected from the Historical Archive of the Municipality of Turin (4) and the material sent by the San Paolo Foundation before the works of the Gracielo (4).