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 articleThe 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.
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- 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.
https://www.spomenikdatabase.org/
Casual trivia: The film Last and First Men consists primarily of slow pans of Spomeniks.
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.
"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?
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.
> 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.
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