Damnatio memoriae, literally "condemnation of memory", in the Latin law provided for the cancellation of the memory of a character who had distinguished himself by his hostile or improper behavior towards the city of Rome, to destroy any trace that could be transmitted to posterity . The damnio memoriae implied the abolition nominis, or the cancellation of the prenatal nature of the character of all the inscriptions, the prohibition to transmit it and the destruction of all his pictorial or sculptural representations. The damnatio memoriae has not always managed to erase an individual from the collective memory and, therefore, history, so much so that some emperors, condemned by their deeds, are still among the most famous characters in Roman history, such as Caio César, third Roman emperor (known as Caligula) or Nero, fifth emperor and last member of the Julio-Claudian dynasty, whose notoriety has come not only thanks to the written texts, but also to the images that survived the immediate violence of the punishment Malù's interest lies in the human brain and illustrates the blurring of the limits between brain memory and digital memory. Brain memory is a psychic process that allows man to reproduce in the mind through states of consciousness (images, sensations, notions), to recognize them as such and, finally, to locate them in space and time. Specifically, the mnemonic processes are the coding of information, the storage and consolidation of memory. The information enters the cognitive system through processes that can take place under strategic control, according to a conscious planning, or automatically, through unconscious mechanisms. When we experience a trauma, we can often suffer a loss of memory. And yet, by seeing someone or something, by hearing a sound, by perceiving an odor or a taste, one can relive the traumatic experience and the memories connected to it. Therefore, it is possible to suddenly recall an episode that was not even thought to have lived. Malù is interested in scientific research that allows us to discover the ability of our brain to physically store all our memories and, therefore, also recover them. Where do the memories go that we do not remember? Les choses du passé son vertigineuses comme l'espace, et leur trace dans the mémoire est balaniente comme les mots: je découvre qu'on se souvient. - Pierre Michon, Vies Minuscules The intention of Malù is to guide the spectators who have experienced traumas to access their memory, stimulate the unconscious to help them heal the psychophysical injuries suffered and make them feel lighter, being the body, in the background, a reflection of our spirit . The installation is aimed at the destruction of space and the creation of a collective memory. The memories that we forget or that make us forget, still exist somewhere in our psychic layers, are never completely destroyed, like the rubble of the demolished walls. In the art of Malù Dalla Piccola, the genre of figurative painting faces the effects of technological progress in our generation, increasingly in contact with digital devices. The human body, therefore, seems inexorably permeated by technology. Challenging the classical representation of the female body in the European tradition, Malù portrays the bodies of fragmented and incomplete women. The psychological tension of this dismembered femininity is perceptible in all the artistic expression of the artist; The looks allude to the grace of the portrait, in its typical Renaissance interpretation, then Baroque, and at the same time to the desensitization induced by the digital apparatus that permeates our daily life.