This is the second installment of Dark Places, an ongoing, multi-chapter project by Cécile di Giovanni that explores the architectural, symbolic, and historical transformation of so-called “dark sites” in the United States. Each chapter takes the form of a site-specific installation, shaped by places marked by collective memory, popular narratives, or invisible trauma.

For the creation of her work, di Giovanni drew inspiration from the story of H. H. Holmes and his so-called “hotel of horrors.” Often considered the first serial killer in U.S. history, Holmes is believed to have murdered between 27 and 100 people between 1888 and 1894, with some estimates placing the number of victims closer to 200. He built a hotel — soon nicknamed “The Castle” due to its massive scale — which opened during the 1893 Chicago World’s Fair.

In addition to the ground-floor shops, visitors could rent rooms in the hotel, unaware that the space had been entirely conceived by Holmes to conceal its sinister purpose. To ensure that no one would uncover the full layout or his intentions, Holmes regularly replaced the team of workers during construction, making sure that he alone possessed the complete plans.

The building depicted on the billboard poster is a post office, designed in 3D and directly inspired by the real Englewood Post Office, which now partially occupies the original site of Holmes’ hotel.

“The Castle” was partially destroyed by a suspicious fire in 1895, and fully demolished in 1938. Over the years, rumors have circulated about preserved underground tunnels beneath the post office and reports of paranormal activity — all of which continue to fuel the collective imagination surrounding the site.

At the outset, Cécile di Giovanni’s intervention was conceived as a pathway traced onto the museum floor. The concept centered on creating a drawing based on the architectural plan of the Holmes Hotel, using either its original measurements or, at the very least, a compilation of all dimensions available online. Notably, Holmes’ hotel had a unique characteristic: the original blueprint was kept secret, known only to Holmes himself. He intentionally hired multiple architects to prevent anyone from fully understanding his true intentions.

However, the floor drawing proved too intrusive, conflicting with the works of other artists on display. As a result, Cédric Fauq and Cécile di Giovanni decided to explore an alternative installation concept, which ultimately led to the billboard presented during the exhibition. This initial idea remains significant, as the logo featured on the billboard’s print originates directly from the research Di Giovanni had conducted while developing the floor path.

As a medium rooted in visibility and public display, the billboard becomes both a surface of projection and a critical tool — echoing the way true crime narratives are sensationalized, commodified, and absorbed into popular culture.

The scale of the billboard was designed to echo and engage in dialogue with the architecture of the museum itself — particularly its height. As a result, a substantial size was chosen for the billboard, measuring 6 meters wide by 3.65 meters high.

Its style and geometric form borrow visual codes from the archetypal American billboard — the kind we imagine and see represented in films and cartoons. Creating a billboard within this work allows for a direct dialogue with strategies of spectacle, advertising, and cultural myth-making.

To create the poster’s visual, Cécile di Giovanni drew inspiration from a variety of sources. She aimed to evoke the atmosphere of an amusement park or a haunted house — emphasizing how this story has been repeatedly displaced and reappropriated in popular culture since the 20th century.