According to American historian Ann Laura Stoler, the term aphasia describes the inability to talk about one's past, especially in the context of colonial power relations. I’m interested in the interrelation between memories and memorials, oral and institutional narratives, and their entanglement within public spaces.“My Fascist Grandpa” aims to illuminate a taboo topic related to Italy's Fascist past (and present): the unfamous italian colonies. This legacy frequently undergoes processes of denial, mythification, or, more commonly, oblivion. Also,what is forgotten is that Italy's colonial campaigns also created "internal colonies": South Italy was considered a “backward” territory, too. As Gramsci well described in “The Southern Question”, modernization is a fascist oppression tool applied to any situation not corresponding to “civilization” standards. From 2022 I’m part of the collaborative project “Entity of Decolonization” initiated by  italo-palestinian duo DAAR/DecolonizingArchitecture. The project aims, through multiple activations, to critically relate to the monumental heritage site of Borgo Rizza built in the 1930s by the fascist Entity of Colonization of Sicilian Latifondo.  My contribution engages with "difficult heritage”, encompassing personal and public dimensions (family archives and monuments). Drawing on my family history, which is primarily related to my grandfather, who fought in the fascist army in Ethiopia (which I just discovered in adulthood) I decided to create site-specific projections of those hidden photographs on the architectures, inviting everyone to unfold their own family’s amnesia.  Making a direct connection between my family’s history, the collective memories and the violent past those architecture are standing for, many different narrations and discussions were raised, depending on the diverse biographies of the international and local participants. We also engaged in workshops, exhibition and live-paintting projections. The results are photographic documentations of these collaborative actions, collective image edits, collages, painted photographs, drawings, and paper cuts that collectively re-process stories many hid alone at home.  Exercises in dealing with histories that, being located in our proximity and intimate sphere of affection, reveal the normalization of ideology and oppressive systems of power among people. As the camera was a colonial device, all visual materials collected come from descendants of fascist soldiers, yet they hold great potential to evoke, reconstruct, and disseminate counter-histories from multiple perspectives. Making possible connections between local histories and collective memories, and bringing the discussion from a verbal to a visual level, this work problematizes our anestors' involvement in the fascist regime in Italy and in colonial settlements, activating and putting in connection intimate archives, proposes strategies that can lead to healing processes, collective discussions and shared counter-narratives.