On Iconographic Silences and Unruly Connections connects and expands on two previous works, Sight Unseen and Unruly Connections, through new research conducted in the South Tyrolean town of Meran. Developing around the eight stages of genocide, the performance-lecture reflects on the genocide committed in Libya and the so-called "peaceful penetration," which the historian Roberta Pergher identifies as the settlement tactics linking internal and external Italian colonialism, with specific reference to South Tyrol and Libya.

The research stemmed from an event that was not reported in Italian newspapers but that was covered by the international press: a protest that took place in Meran in 1935, when five hundred soldiers refused to be conscripted in the Second Italo-Ethiopian War. During this mutiny, which resulted in two deaths, the soldiers ripped a picture of Mussolini with their bayonets. Further research was conducted on the history of two German-speaking South Tyrolean aviators, Otto Huber and Siegfried Wackernell, who joined the Italian army and volunteered to take part in the repression of the anticolonial resistance in Libya in the late 1920s, which resulted in the genocide of the Sanusi population. These elements are interwoven with stories of resistance against the ban on documentation of the Libyan genocide.

On Iconographic Silences and Unruly Connections offers an immersive experience, taking place in a totally darkened room surrounded by large prints of archival images that are lit with a torch. The audience is invited to participate in this act. In this way, light can be shed onto a painful and contested past through a collective effort. Yet, the images are always only partially visible, in order to shield from the intrinsic systemic violence that they incarnate.