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

of the Solcher moves with high speed from space
to the Earth, hesitating a bit above the Baltic States,
seeking where to land, and, hnally, touching down
in the heart of Tallinn. Further on, the spectator is
confronted by a collage of hot-tempered interviews
from both sides, cuts from TV news about the neo-
Nazi démonstration for its removal and about pro-
protesters for saving it, and the involvement of the
mother-state, Russia. Ail provide evidence that the
monuments are widely ušed and abused for political
purposes. The video is about the conséquences of
the uncured wounds and scars, injuries of the past,
which haunt even the next "innocent" génération.
She does not yearn to také sides, instead propos-
ing to confront the traumatic memories and to open

a nationwide discussion allowing the healing process
to get started. In relation to Tallinn's nationalistic
statue mania with its newest product, (T/Vw? yór
EřAnVdw RTf (Vabadussoja sammas) [Fig. 10], an
aggressive cross referring to a military award in the
interwar period, nearby the site of the
in the city s main square towering and overshadowing
the Orthodox Church, her video and ail the other
works mentioned carry an important message that
silence, suppressed secrets, and taboos simply toxify
communication, or, to put it otherwise, without
critical examination and the proper mourning of
past injuries, one is not able to deal with the present
predicament of culture, that is, the rise of national-
isms and extreme politics.

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