#countermonument

[hackingmonuments]

Negro Matapaco, Santiago de Chile

Negro Matapacos (translated as Black Cop-Killer)[1] was a Chilean dog that acquired notoriety due to his participation in the street protests that took place in Santiago, Chile during the 2010s. Among his characteristics was his black fur and the red handkerchief that was tied around his neck, although he also had a blue and a white handkerchiefs that were placed by their caregiver.[2]

Chileans have realized last week a monument for Negro Matapaco that has been vandalized, probabily by police. People has realized than on its cinders, a monument made of flowers.

Thanks to Paz & Felipe for the story!

[hackingmonuments]

COUNTER-Monument

THROUGH THE REPELLENT FENCE - Film Trailer - https://www.throughtherepellentfence.com?wix-vod-video-id=499bc5769e714920b1eec222d551611d&wix-vod-comp-id=comp-jct53ni6

[bdavissynergy]

I'll be in Pendleton house working in silence until 3:30. #intheshadowofdixie #wewontbeerased #antimonument #countermonument (at RISD Museum) https://www.instagram.com/p/BojycW5lyP9/?utm_source=ig_tumblr_share&igshid=18ykfw0l7d6h3

[thewritingonthelilacwall]

Counter Monuments and Nation Building.pdf

By Elizabeth Strakosch Counter-monuments aim to challenge and invert the nation-building agenda of traditional state memorials. Instead of presenting a simple story of triumph or martyrdom, they confront the nation-state with its own crimes and exclusions. In contrast to traditional pedagogical monuments, they use abstract rather than literal forms to accommodate ambivalence, multiplicity, and change. Scholars such as James E. Young have celebrated this new generation of monuments as capable of acknowledging the absences and uncertainties of historical events, and as able to build more inclusive, post-national political identities. They appear to allow the stories of victims and perpetrators to share a single representational space without either dominating, and are able to genuinely contribute to peaceful post-conflict coexistence. But where do victims truly stand in relation to these highly conceptual artworks? Are counter-monuments as radical and inclusive as their creators and proponents claim they are?

[montrealisformodern]

Les maisons reveillées: Review of a Montreal countermonument.

Melvin Charney’s (1976) “Maisons de la rue Sherbrooke”, part of Corridart, a celebration of…

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[nightofthenight]

Art, in its conspicuousness, in it recognizability, is an indication of failure. If it were truly consumed, no longer visible or conspicuous, if there were only a few manifestations of art left, it would actually be where it belongs--that is, within the people for whom it was created.

Jochen Gerz