September 8th, 2024

Concrete clickbait: next time you share a spomenik photo, think abt what it mean

The article critiques the social media portrayal of spomeniks, Yugoslav monuments, emphasizing their historical significance and the need for deeper engagement with their anti-fascist legacy and original context.

Read original articleLink Icon
CuriosityGratitudeDisappointment
Concrete clickbait: next time you share a spomenik photo, think abt what it mean

The article discusses the phenomenon of spomeniks, Yugoslav monuments that have gained popularity on social media, often stripped of their historical context. Owen Hatherley critiques the exoticization of these structures, which were originally commissioned to commemorate various historical events, particularly related to World War II and the anti-fascist struggle. Many of these monuments, designed by notable architects, reflect local histories and community involvement rather than being mere creations of the Tito regime. Hatherley emphasizes that the current portrayal of spomeniks as abstract sculptures or "concrete clickbait" diminishes their significance and the complex narratives they embody. The depoliticization of these monuments leads to a loss of understanding regarding their original purpose and the anti-fascist legacy they represent. Contemporary artists and researchers are working to reclaim the historical context of these monuments, advocating for a deeper engagement with their meanings. The article concludes by highlighting the importance of remembering the Yugoslav experience of resistance against fascism, suggesting that these monuments serve as vital reminders of a shared struggle for equality and solidarity.

- Spomeniks are often shared online without context, leading to their exoticization.

- These monuments commemorate various historical events, not just World War II.

- The depoliticization of spomeniks undermines their significance and historical narratives.

- Contemporary artists are re-engaging with the meanings of these monuments.

- The Yugoslav experience of anti-fascism offers valuable lessons for today's political climate.

Related

Feelings over Facts: Conspiracy Theories and the Internet Novel

Feelings over Facts: Conspiracy Theories and the Internet Novel

The article explores the rise of conspiracy theories in modern culture, their impact on various aspects, and the importance of understanding emotions behind them. It advocates for empathy and emotional comprehension over factual debates.

How Warsaw Came Close to Never Being Rebuilt (2015)

How Warsaw Came Close to Never Being Rebuilt (2015)

Warsaw faced near-total destruction post-WWII, with 84% of urban architecture lost. Despite debates on its fate, reconstruction efforts began in 1945, driven by political motives and led by Professor Zachwatowicz. Conflicts arose over architectural visions, but the project revitalized Warsaw's Old Town, now a UNESCO site. Financing came from public donations, symbolizing national unity.

East German culture has been ignored for too long

East German culture has been ignored for too long

The article highlights the historical neglect of East German culture post-reunification, recent interest in its literature, and the need for a unified narrative to address societal divisions and far-right sentiments.

Maybe knowing too much about others isn't so great

Maybe knowing too much about others isn't so great

Daniel Frank discusses how social media and evolving opinions affect admiration for public figures, leading to reputational decline. He suggests fostering tolerance and recalibrating expectations to mitigate conflict and polarization.

Parochialism in Time and Space (2021)

Parochialism in Time and Space (2021)

The article examines parochialism in geography and history, noting modern society's geographical awareness but historical narrowness, driven by increased information and a decline in historical references in literature.

AI: What people are saying
The comments reflect a diverse range of perspectives on the article's critique of spomeniks and their historical context.
  • Many commenters express gratitude for learning about the deeper historical significance of spomeniks beyond their superficial portrayal.
  • Some highlight the need for a more nuanced understanding of the monuments, emphasizing their anti-fascist legacy.
  • Criticism arises regarding the article's tone and framing, with some perceiving it as overly political or clickbait.
  • Several users share resources and personal experiences related to spomeniks, indicating a desire for more accessible information.
  • There is a discussion about the challenges of interpreting abstract art in memorial contexts compared to more traditional monuments.
Link Icon 13 comments
By @JoeDaDude - 3 months
The Spomenik Database for those inclined to learn a bit more:

https://www.spomenikdatabase.org/

Casual trivia: The film Last and First Men consists primarily of slow pans of Spomeniks.

https://www.imdb.com/title/tt8015444/

By @jitl - 3 months
I’m grateful to learn a more detailed and contextual history of these monuments; I’ve only appreciated them through the “clickbait” lens as “Tito’s monuments” as the article says.
By @jepix - 3 months
We took the chance to dig and reveal the backgrounds of spomenik while enjoying their extreme skateability on our skateboard magazine here: https://fotta.it/vol-2/num-7/novo-spomen-a-new-memory
By @RcouF1uZ4gsC - 3 months
> But now, argues Owen Hatherley, it is vital that we make the effort to understand what they truly represent

Maybe this speaks of the weaknesses of abstract art when used for this. No one thinks of the Lincoln Memorial or Mount Rushmore or Taj Mahal or Arc de Triumph like this. In some sense, their memorial status comes out in the form itself. This is not the case with abstract art like the spomeniks.

By @krupan - 3 months
I lived in and have returned to visit former Yugoslavian countries over the past 25 years and until just now had not come across these spomeniks. I'm glad I was able to learn the true stories about some of them at the same time. Overall I'm pretty disappointed in the weird vibe of the article. This statement was particularly confusing:

"Yet not only in Croatia, but in France, the USA, Britain, real, open fascism – fences, walls, racial laws, deportations, camps – is once again mainstream."

Deportation camps are once again mainstream in these countries?? Are they? And "once again" as if they ever were mainstream? Did I miss something?

That kind of makes me doubt everything else said in the article. Overall the article seemed to be very anti fascist (great!) and pro post WWII communist (not great) even seemingly celebrating Yugoslavia's defeat of the Allies?

Anyway, I would love to see more simple explanation of each spomenik like this article gives for some of them (artist, purpose of the monument, dates, etc.). Anyone know where to find that?

By @polypodiopsi - 3 months
To me the authors accusatory tone seems misguided and, indeed, clickbaity (people love to hate)- which is a shame, since the information about the architectural sculptures called spomenik the article offers is pretty interesting. I believe that the interest in the purely formal qualities of thise "spomeniks" is a proper appreciation. Getting people interested by these offers an entrypoint into a deeper engagement with their historical background and the representational purpose. "its great that pictures of spomeniks are circulating, you might wonder what the meaning of those seemingly alien structures in the nowhere actually is" would be the proper cause for propagating these information imho. Its actually remarka le about these memorials that they manage to get their image circulating.
By @ChrisMarshallNY - 3 months
I am glad to learn this.

From what I understand, the Ustaše (I think they were Croatian), were so brutal, they sickened the Gestapo.

Tito held Yugoslavia together, but that unity couldn't survive his passing. They've been fighting each other for so long, that I suspect the original reasons are lost in antiquity.

By @RandomThoughts3 - 3 months
That’s a political article masquerading as being about architecture and art.

> Monuments built by the Nazis stand alongside those built by and for their victims. It is comparable to placing a photo of Yad Vashem alongside images of Albert Speer’s Zeppelinfeld, as if they were the same thing.

Because they are the same thing. It’s grandiose architecture commissioned by 20th century autocrats.

> a major problem is also the depoliticised framing of the monuments. Left without any indication of what they commemorate, or even of who designed them, the results are “deliberately oblivious” to the anti-fascist struggle that they commemorate

As it should be. Don’t get fooled by the article author tentative to rehabilitate and separate socialist art from the rest. Totalitarian regimes are totalitarian even when they are communist.

By @samth - 3 months
History is of course valuable to learn, but as a criticism of the work this is almost precisely the "turn to the camera and say that he's the same kind of communist I am" tweet made flesh.
By @pacija - 3 months
Овене Србине, нека си им рекао истину свака част! Сви су ови споменици у сећање на жртве фашистичког терора, а не за лајкове и кликове. Победили смо фашисте ономад, и победићемо их поново!