Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (43.2010)

P. JoAň/; TbÆ//77. Pic/o.* G. U/?Z

Piotrowki States, that it "p/zvyřz/ /7 rp727j/77'/772/ wA Z/? /A
poA/AA 7'/777rA/97/r77/'n* <?/ P<9^7M/Á /I.. 7 EA 277/?/7A///77/r o/
AA Ap Z/ A/t/TT/í' /7 <9/ /tAnUT//*/* /<977i/7rAr 7*07777777/7721*777.
... P7"op/7g/7/277g Ao r/<9g/772i* o/ A<?77707*r/7ry, AoAA/7f77ofA /7i*-
J*7/777oA Aoo/ogA/?/ 2/222/77*77/2 022, /7/7J*řA <?/? PoAA Uz/AoArATT/.
_ Pz/fT/AovAz/Ay, ^oi^o/ioy /?oA EAoy A. Ao 007777727/77A/1*
/777A ToAAz7f77oA)y7/727*/2'o77oA 2AA272 Ao pz77*z7z^777 gf
ro/A/ 777oAz7Ai*777i* — Ao 77707*/?z7772'i*7/7 <9/ Ao777277z7777*o o/' z? Aor<?77
(0777) /A^oAgy 77?AA AorprorAA/ ^//zyA/y <9/" AZ/A^T/T'q z/T/A
Aoři* 770/ z77*7*A/ Ao T/orřírz/ryyOr /Ay7/777*/2077272g o/ A<?77707*rz7gy
— 7.0. /Aoo/ogAA 7*077pf/P"^ As fot no*w, the monument
is a symbol of a victoty over the dictatorship. "ir
7/, ^07^07/07; /? jyTT/A/ o/ Ao77707*7*z7gy, o/ /P777007Ÿ2/70 AAAZ/Tg,
OOJpOO/yÖT" Ao 77gA 0/ Ao T^AoEp (Ao72-Uz7AoA7*p /O M92/ť
7/t 77gA/r 777 77p/AAr ip^oP — raises the question Pio-
ttowski and gives a negative answer. As he explains:
"PA TTgA/t o/ /A 777777oAPot /7f0 770/ zvAzp'l* fOJpOO/čP, Ao
yho<?Ao772 0/^ 277AA2A7/Z7/ AoAuA z/T/A tT/^or/oA /o Ao ÍO-/72AA
_g07707t//0007'A 777/OfOO/, ^0007"770// p/ 77 UAEl*Az777 gyo/0777 o/* TW/Ao
77777/ Ař Ao777277z777/ poA/AA 7/70OO//70O. /.. ._/ P/^0 77707777777077/
o/ Poznaň June 1956 22//2J* /?AA 777 ^ 7^/07*077/ f^A/y, A
z2 /0/z7A/z7hz777 7*Oz7A/y, 72%// 7"0/70/07/ /O A<? /0/z7A/z7p/777 TVz/A/y

PIOTROWSKI, P.: Miçdzy totalitaryzmem i demokracj^.
Pomník **Poznanskiego Czerwca 1956". In: XroUÁzzVÍMJ*/<7
Poy77ď77M.' Po/%77/Áf. Poznaň 2001, pp. 195-210; in German:
Zwischen Totalitarismus und Demokratie. Das Denkmal zum
"Posenerjuni 1956". In: Do/7ÁwJA7//X7'ř////7i3'Pct777. P3712ZGA
7/777/ P<9/7/mt/7. Kiel 2002, pp. 250-264; in English: Between
Totalitarianism and Democracy. The Monument of "Poznan
June of 1956". Courtesy of the author.


7 0. (T/A?/?pr LZAr/z/Lw HA/; ThA'////. Pic/z?.* G. UZ?/
7/í277g Ao 0 AoT^ /0/z7AAP/777 2/777g2//7g<y 0/p0p77g Ao A777277777700
0/ 007777777/7770/ /Ařo/ogy Ao777^A 77770Ao7" Ao777277z7777*ř — 72/2/2072/7A
G/?AoA 0770."
Within the post-socialist condition, the post-
Soviet one is even more harsh and violent, and the
triggers of suppressed and never explained away ten-
sions are, once again, monuments. These monuments
carry different meanings for different parts of those
societies where the ex-suppressed population has
suddenly become the governing, as in the successor
States of the disintegrating Soviet Union.
Krishna Norman, an artist of the youngest gén-
ération of Russian and Estonian origin, but raised
in the newly established Estonia, faces this set of
problems tied to a public monument nicknamed
B/*072yy PoAAoTi a monster, a symbol of oppression
for Estonians, but a sacred cultic memorial for
minority Russians [Fig. 9J. She takes it as a site of
projection and also as a platform for communication
and réconciliation in her video Ai<977/7AA (2007)."" It
Starts with the dramatic music of Stanley Kubrick's
1968 cuit movie, PČP7- bp/7/ť OAyn*oy, as the statue
^ Ibidem.
See Uv'r2//7^iVo/'7?7/777.'M//^lE/7*- [Exhib. Cat.] Estonian Exhi-
bition at the 53*^ International Art Exhibition — La Biennale
di Venezia. Tallinn : Center for Contemporary Arts, Bstonia,
2009.

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