The performative gesture is all the more problematic when taking into account the fact that I occupy, in turns, both the position of the victim and that of the behind-the-camera ‘executioner’. The photographs are arranged in a circle to reinforce the idea that the duration of the traumatic experience could be fragmented into an unlimited number of distinct moments. The location where I dug the grave-like pit is an unfinished stadium erected during the communist period in my native town, now an abandoned ruin. Some of the stadium stands are visible in the background of the photographs. This location has its significance, since it makes more forcible the idea of a ritual being watched by a public, the idea of an agent of gaze. There are a number of gazes at play: the gaze towards the recent history, the gaze which accompanies the killing, the introspective gaze. The photographic documents are just a pretext for confronting the problems entailed by the representation of the historical trauma. Whether it relates to the Holocaust or to communism, the historical trauma has deeply affected both the recent history and the collective memory.