Counter-monuments: the anti-monumental and the dialogic

Stevens, Quentin; Franck, Karen A.; Fazakerley, Ruth

doi:10.1080/13602365.2012.746035

Cited by 57 publications

(31 citation statements)

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“…Sanatçılar mekân olarak onlara önerilen park yerine bir alışveriş merkezinin yanındaki sıradan bir caddeyi seçmişlerdir. Anıt ince yumuşak bir kurşun tabakayla kaplanmış 12 metre yüksekliğinde ve 1 m 2 alanında içi boş, alüminyum bir sütundur (Clark, 2004 (Stevens, 2012). Görsel 1.…”

Section: Harburg Anıtı'nın Yenilikçi Yaklaşımıunclassified

Heykelin Politik Bir İmgeye Dönüşümü: Harburg Anıtı Örneği

Şengünalp¹

2020

Uluslararası Kültürel Ve Sosyal Araştırmalar Dergisi (UKSAD)

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Section: Harburg Anıtı'nın Yenilikçi Yaklaşımıunclassified

Heykelin Politik Bir İmgeye Dönüşümü: Harburg Anıtı Örneği

Şengünalp¹

2020

Uluslararası Kültürel Ve Sosyal Araştırmalar Dergisi (UKSAD)

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“…(Stevens et al 2012:959). Stevens et al (2012) cite many more interventions in opposition to traditional memorial form, but in all their examples the material used is physical and capable of structure, even if it is a structure that sinks below the ground or leaves a physical (but permanent) void instead of a permanent presence.…”

Section: Memorials and Monumentsmentioning

confidence: 99%

The material of mourning: Paul Emmanuel's Lost Men as counter-memorials

Veh¹

2020

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Paul Emmanuel's works to be discussed are site-specific, counter-memorial statements called The Lost Men. Each installation consists of semi-transparent cloth banners carrying photographic images of parts of the artist's body, imprinted with the names of men who represent participants from both sides of each conflict memorialised. These are often men who went undocumented in official records and include those who were lost or killed in major conflicts, from the Frontier Wars in the Eastern Cape: The Lost Men Grahamstown (2004), to the civil war in Mozambique: The Lost Men Mozambique (2007) and from World War 1: The Lost Men France (2014). Emmanuel's banners are fragile; some have been lost and some have deteriorated in situ. In all their iterations, they engage with memory, impermanence, vulnerability, death and an alternative view of masculine identity that undermines the macho aggression associated with warfare. I discuss the role a lack of material substance plays in enhancing the message of loss and grief. I argue that the very impermanence of cloth is essential to countering what Pierre Nora (1989:8) terms the 'lieux de memoire' - lasting physical memorials that enshrine and perpetuate "memories" when the lived experience of those memories have long been lost. Emmanuel's Lost Men are truly in the process of being "lost" through disintegration, and I argue that this physical deterioration, in conjunction with the imagery Emmanuel uses, is the key to their success as counter-memorials.

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“…Madre Luz embodies a number of aspects of the dialogic counter-monument engaging with an existing monument (Stevens et al., 2012). It was female, as opposed to male; it was made of light, perishable materials; it solicited active participation and physical modification from the people around it; and it was created to be impermanent instead of to last for generations.…”

Section: The Lee-jackson Confederate Monument In Baltimore MDmentioning

confidence: 99%

Counter-monumentality and the vulnerability of memory

Osborne¹

2017

Journal of Social Archaeology

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Monuments have been a staple of archaeology since the beginning of the discipline and have been used as case-studies for a diverse range of topics. In recent years, monuments have been considered particularly often in studies of social memory. By materializing memorial ambitions, however, the creation of monuments provides a venue for collective memories to be challenged. Despite their outward appearance of strength and permanence, monuments additionally render the memory of their creators vulnerable and open to contestation. In particular, the practice of counter-monumentality, or active and deliberate interventions in traditional monuments, illustrates how the erection of monuments exposes the inherent fragility of memory. Examples from the present and the past demonstrate these points: a statue of Confederate generals Robert E. Lee and Thomas “Stonewall” Jackson in Baltimore, Maryland, and a corpus of monumental statues from southeastern Anatolian and northern Syria during the Iron Age.

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Counter-monuments: the anti-monumental and the dialogic

Cited by 57 publications

References 0 publications

Heykelin Politik Bir İmgeye Dönüşümü: Harburg Anıtı Örneği

Heykelin Politik Bir İmgeye Dönüşümü: Harburg Anıtı Örneği

The material of mourning: Paul Emmanuel's Lost Men as counter-memorials

Counter-monumentality and the vulnerability of memory

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