my name is vitya vilisov, and this is my new project MONUMENTOMANIA. I do journalism and artistic research, including performative lectures and documentary/research projects. for the past two years I have been researching war — writing articles & essays, making the NEW TYPES OF WEAPONS documentary on the critical theory of new wars, the immersive project HOW LONG IS THE WAR on the impact of war on time and identity, and the performance IL GRANDE DOLORE / great grief about mourning and grieving during war. this is my fourth major project about war.
war is possible in a society to which it seems acceptable or natural. war monuments — statues, memorials and architectural ensembles, even churches — erected by the state to commemorate military figures and events play a huge role in desensitizing to war or open militarization. in Russia today, there are more than 4,500 monuments protected as cultural heritage; about 2,500 of them are dedicated to World War II; dozens, if not hundreds, of new monuments to the military people and wars have appeared in the last ten years.
as dominant features of public spaces, monuments are paradoxically invisible: they are habitualized; their impact on culture and militarization is therefore underestimated. but monuments shape and direct collective memory, influencing collective identity and in many ways determining the values of societies. today, government monumental policies around the world glorify war, portraying it as an inevitable and natural part of life; instead of commemorating the victims and depicting the grief of war, monuments glorify organized violence.
drawing on books and texts [bibliography here] by researchers from architecture, sociology, phenomenology, anthropology, and other fields, I made a project on how monuments shape places of memory and tell people how and what to remember, what example to follow; how power derives legitimacy from monuments and the cult of glory; how monuments influence our emotions and values; how monumentality has compromised itself in the 20th century and what is replacing it; and whether monuments can do the work of memory for us.
war is possible in a society to which it seems acceptable or natural. war monuments — statues, memorials and architectural ensembles, even churches — erected by the state to commemorate military figures and events play a huge role in desensitizing to war or open militarization. in Russia today, there are more than 4,500 monuments protected as cultural heritage; about 2,500 of them are dedicated to World War II; dozens, if not hundreds, of new monuments to the military people and wars have appeared in the last ten years.
as dominant features of public spaces, monuments are paradoxically invisible: they are habitualized; their impact on culture and militarization is therefore underestimated. but monuments shape and direct collective memory, influencing collective identity and in many ways determining the values of societies. today, government monumental policies around the world glorify war, portraying it as an inevitable and natural part of life; instead of commemorating the victims and depicting the grief of war, monuments glorify organized violence.
drawing on books and texts [bibliography here] by researchers from architecture, sociology, phenomenology, anthropology, and other fields, I made a project on how monuments shape places of memory and tell people how and what to remember, what example to follow; how power derives legitimacy from monuments and the cult of glory; how monuments influence our emotions and values; how monumentality has compromised itself in the 20th century and what is replacing it; and whether monuments can do the work of memory for us.
MONUMENTOMANIA: trailer
MONUMENTOMANIA exist in two formats: movie & immersive experience; these are two different works based on the same text.
the second is a performative experience in 3D space, made on Unreal Engine. it consists of 20 scenes in 5 different locations and is available in a browser; you find yourself inside the project simultaneously with a group of other people and can move, jump, fly, climb on monuments, dive deeper into the visual exploration of statues, talk while watching. if by any chance you've already watched my project HOW LONG IS THE WAR, you are familiar with the format; if not, watch the in-game trailer.
this project has a very dense text, so I would recommend going to the immersive version first, and then tightening the material with the movie (available in English soon). both formats last an hour and consist of the following parts:
the second is a performative experience in 3D space, made on Unreal Engine. it consists of 20 scenes in 5 different locations and is available in a browser; you find yourself inside the project simultaneously with a group of other people and can move, jump, fly, climb on monuments, dive deeper into the visual exploration of statues, talk while watching. if by any chance you've already watched my project HOW LONG IS THE WAR, you are familiar with the format; if not, watch the in-game trailer.
this project has a very dense text, so I would recommend going to the immersive version first, and then tightening the material with the movie (available in English soon). both formats last an hour and consist of the following parts:
why people in the Neolithic began erecting monuments and how this changed the concept of place; how large stones were associated with power and became part of the "great tradition"; how monuments in the 19th century helped bring nations together, gave faith in immortality, and gave rise to the concept of heroism in a modern form
why no monuments to people were erected in Russia before Peter the Great, and how temples glorify the war; to whom monuments were erected in the Russian Empire and how many of them were demolished in the Soviet Union; how the USSR invented the history of the revolution in monuments, and the war gave freedom to sculptors; where the epic format of Soviet monuments came from, and how siege survivors hoped for monuments to women; how the authorities of post-Soviet Russia could not think of something to unite the people for a long time, and then remembered about monuments.
how visual semiotics in the second half of the twentieth century began to put into words the messages of war monuments; how monuments affect collective memory and identity; what places of memory are and how they shape the values of societies, and how monuments around the world contribute to militarization
what's wrong with monumental culture in general; why a trend of counter- or anti-monuments has emerged and how it resists monumentality; how Nietzsche saw the harm of monuments; how monuments attract gopniks, giving an example of grandeur; what artists and performers have contributed to the reinterpretation of monuments; how relational spaces are replacing spaces of representation; and whether people really need to remember as modern culture commands us to remember.
double-premiere: May 9;
2nd show: May 13;
3rd show: June 23;
4th show: August 10;
📼 video-version:
— Czech premiere at TEFF festival | 10.10
🎟 immersive version: Nov 17;
2nd show: May 13;
3rd show: June 23;
4th show: August 10;
📼 video-version:
— Czech premiere at TEFF festival | 10.10
🎟 immersive version: Nov 17;
please leave the correct email — you'll receive the letter with a link to experience on a show day; if something went wrong or you want to transfer in another way (paypal, wise, credo) or if you'd like to visit the experience individually in convenient time — ping me on telegram or insta; please be aware that experience contains speech in Russian with Russian and English subtitles
thank you for reading this; I've put a huge effort into this project and would love if you could share it. if you'd like to follow my work further, here's my inst, and telegram channel.
✊ vilisov '24
✊ vilisov '24
BOOKS
1. Arnheim, Rudolf. 1977. The Dynamics of Architectural Form: Based on the 1975 Mary Duke Biddle Lectures at the Cooper Union. Berkeley: Univ of California Pr.
2. Augé, Marc. 2004. Oblivion. Minneapolis: University of Minnesota Press.
3. Baines, Gary. 2019. “A Duty to Remember (and Forget?): A Transnational Perspective on Commemorating War.” In War and Memorials, eds. Frank Jacob and Kenneth Pearl. Brill | Schöningh, 23–44. doi:10.30965/9783657788224_003.
4. Connerton, Paul. 1989. How Societies Remember. First Edition. Cambridge England ; New York: Cambridge University Press.
5. Houlton, Thomas. 2021. Monuments as Cultural and Critical Objects: From Mesolithic to Eco-Queer. 1st ed. London: Routledge. doi:10.4324/9780429197550.
6. Kirschenbaum, Lisa A. 2006. The Legacy of the Siege of Leningrad, 1941–1995: Myth, Memories, and Monuments. Illustrated edition. New York: Cambridge University Press.
7. Lambert, Ladina Bezzola, Andrea Ochsner, Regula Hohl Trillini, Jennifer Jermann, and Markus Marti. 2009. Moment to Monument: The Making and Unmaking of Cultural Significance. Bielefeld: Transcript.
8. Lefebvre, Henri, Donald Nicholson-Smith, and Henri Lefebvre. 2013. The Production of Space. 33. print. Malden: Blackwell Publishing.
9. Massey, Doreen, and Professor Doreen B. Massey. 2005. For Space. SAGE.
10. Nietzsche, Friedrich Wilhelm, Julius Kraft, and Adrian Collins. 1995. The Use and Abuse of History. 2nd rev. ed. New York: Macmillan.
11. Rieff, David. 2011. Against Remembrance. Carlton, Victoria: Melbourne University Press.
12. Widrich, Mechtild. 2014. Performative Monuments: The Rematerialisation of Public Art. Manchester, United Kingdom ; New York: Manchester University Press.
13. Wilson, Peter J. 1991. The Domestication of the Human Species. Yale University Press.
14. В.В. Бондарь, А.Н. Еремеева, О.Н. Маркова, Т.Ю. Юренева. 2022. Государственная монументальная политика: опыт, противовречия, перспективы. Москва: Институт наследия.
PAPERS
1. Abousnnouga, Gill, and David Machin. 2010. “Analysing the Language of War Monuments.” Visual Communication 9(2): 131–49. doi:10.1177/1470357210369884.
2. Abousnnouga, Gill, and David Machin. 2011a. “The Changing Spaces of War Commemoration: A Multimodal Analysis of the Discourses of British Monuments.” Social Semiotics 21(2): 175–96. doi:10.1080/10350330.2011.548640.
3. Abousnnouga, Gill, and David Machin. 2011b. “Visual Discourses of the Role of Women in War Commemoration: A Multimodal Analysis of British War Monuments.” Journal of Language and Politics 10(3): 322–46. doi:10.1075/jlp.10.3.02abo.
4. “Author(s): Matti Bunzl.” 1995. History and Memory 7(2): 7–40.
5. Bergholz, Max. 2010. “The Strange Silence: Explaining the Absence of Monuments for Muslim Civilians Killed in Bosnia during the Second World War.” East European Politics and Societies: and Cultures 24(3): 408–34. doi:10.1177/0888325409360212.
6. Brüggemann, Karsten, and Andres Kasekamp. 2008. “The Politics of History and the ‘War of Monuments’ in Estonia.” Nationalities Papers 36(3): 425–48. doi:10.1080/00905990802080646.
7. Burch, Stuart, and David J. Smith. 2007. “Empty Spaces and the Value of Symbols: Estonia’s ‘War of Monuments’ from Another Angle.” Europe-Asia Studies 59(6): 913–36.
8. Cohen, Aaron J. 2014. “‘Our Russian Passport’: First World War Monuments, Transnational Commemoration, and the Russian Emigration in Europe, 1918–39.” Journal of Contemporary History 49(4): 627–51. doi:10.1177/0022009414538469.
9. Cook, Robert. 2020. “Civil War Monuments and the Militarization of America by Thomas J. Brown.” The Journal of the Civil War Era 10(3): 432–34. doi:10.1353/cwe.2020.0065.
10. Dimitrova, Snezhana. 2005. “‘Taming the Death’: The Culture of Death (1915-18) and Its Remembering and Commemorating through First World War Soldier Monuments in Bulgaria (1917-44).” Social History 30(2): 175–94.
11. European University at St Petersburg, Russia, and V.G. Bass. 2017. “The Monument: who controls the past. On one mechanism of architectural commemoration.” Sociology of Power 29(1): 122–55. doi:10.22394/2074-0492-2017-1-122-155.
12. Gottdiener, M. 1993. “A Marx for Our Time: Henri Lefebvre and the Production of Space.” Sociological Theory 11(1): 129. doi:10.2307/201984.
13. Grant, Susan-Mary. 2020. “Civil War Monuments and the Militarization of America: By Thomas J. Brown, Chapel Hill: University of North Carolina Press, 2019, Pp. 384, $90.00 (Hbk), $29.95 (Pbk), ISBN 9781469653730, ISBN 9781469653747.” American Nineteenth Century History 21(2): 207–8. doi:10.1080/14664658.2020.1789362.
14. Grider, Nicholas. 2007. “ Faces of the Fallen’ and the Dematerialization of US War Memorials.” Visual Communication 6(3): 265–79. doi:10.1177/1470357207081000.
15. Isto, Raino. 2021. “‘Weak Monumentality’: Contemporary Art, Reparative Action, and Postsocialist Conditions.” RACAR : Revue d’art canadienne 46(2): 34. doi:10.7202/1085419ar.
16. Kobiałka, Dawid. 2019. “Living Monuments of the Second World War: Terrestrial Laser Scanning and Trees with Carvings.” International Journal of Historical Archaeology 23(1): 129–52. doi:10.1007/s10761-018-0462-5.
17. Kruk, Sergei. 2008. “Semiotics of Visual Iconicity in Leninist monumental’ Propaganda.” Visual Communication 7(1): 27–56. doi:10.1177/1470357207084864.
18. Krzyżanowska, Natalia. 2016. “The Discourse of Counter-Monuments: Semiotics of Material Commemoration in Contemporary Urban Spaces.” Social Semiotics 26(5): 465–85. doi:10.1080/10350330.2015.1096132.
19. Krzyżanowska, Natalia. 2017. “(Counter)Monuments and (Anti)Memory in the City. An Aesthetic and Socio-Theoretical Approach.” doi:10.19205/47.17.6.
20. Kuliši, Marija, and Miroslav Tu. “Monument as a Form of Collective Memory and Public Knowledge.”
21. Legvold, Robert, and Nina Tumarkin. 1995. “The Living and the Dead: The Rise and Fall of the Cult of World War II in Russia.” Foreign Affairs 74(3): 182. doi:10.2307/20047171.
22. Liscia, Valentina Di. 2021. “Violence Is The Most Common Subject of Commemoration in US Monuments.” Hyperallergic. http://hyperallergic.com/681501/violence-is-the-most-common-subject-of-commemoration-in-us-monuments/ (March 26, 2024).
23. Magazine, Smithsonian, and Bridget Alex. “Archaeologists Propose 4,500-Year-Old Burial Mound Was World’s First Military Memorial.” Smithsonian Magazine. https://www.smithsonianmag.com/science-nature/archaeologists-propose-4500-year-old-burial-mound-was-worlds-first-military-memorial-180977981/ (February 21, 2024).
24. Nadali, Davide. “Monuments of War, War of Monuments: Some Considerations on Commemorating War in the Third Millennium Bcl.”
25. Nicol, Liz, and Jane Hutchinson. 2020. “Keep Your Kodak Busy: Monuments of the Great War.” Mortality 25(1): 69–98. doi:10.1080/13576275.2019.1682982.
26. “Performative Monuments: The Rematerialisation of Public Art.” Performative Monuments: The Rematerialisation of Public Art. http://www.caareviews.org/reviews/2428 (February 12, 2024).
27. Pollard, Joshua. 1999. “The Significance of Monuments. By R ichard B radley.” Archaeological Journal 156(1): 426–27. doi:10.1080/00665983.1999.11078923.
28. Preda, Caterina. 2016. “‘Project 1990’ as an Anti-Monument in Bucharest and the Aestheticisation of Memory.” Südosteuropa 64(3). doi:10.1515/soeu-2016-0027.
29. Preda, Caterina. 2023. “‘Living Statues’ and Nonuments as ‘Performative Monument Events’ in Post-Socialist South-Eastern Europe.” Nationalities Papers 51(3): 544–62. doi:10.1017/nps.2021.84.
30. Røstad, Merete. “The Participatory Monument.”
31. Sherman, Daniel J. 1996. “Monuments, Mourning and Masculinity in France after World War I.” Gender & History 8(1): 82–107. doi:10.1111/j.1468-0424.1996.tb00225.x.
32. Sherratt, Andrew. 1990. “The Genesis of Megaliths: Monumentality, Ethnicity and Social Complexity in Neolithic North‐west Europe.” World Archaeology 22(2): 147–67. doi:10.1080/00438243.1990.9980137.
33. Silva Gouveia, Anna Paula, Priscila Lena Farias, and Patrícia Souza Gatto. 2009. “Letters and Cities: Reading the Urban Environment with the Help of Perception Theories.” Visual Communication 8(3): 339–48. doi:10.1177/1470357209106474.
34. Smith, Kathleen E. 2019. “A Monument for Our Times? Commemorating Victims of Repression in Putin’s Russia.” Europe-Asia Studies 71(8): 1314–44. doi:10.1080/09668136.2019.1648765.
35. Södertörn University, and Irina I. Sandomirskaya. 2020. “Retrotopia: Post-memory and a ‘Reactionary Choice of the Past.’” Koinon 1(1–2): 164–79. doi:10.15826/koinon.2020.01.1.2.008.
36. “Soviet-Era Monuments in Georgia.” Ex Utopia. https://www.exutopia.com/exclusion-zone/soviet-monuments-georgia/ (March 21, 2023).
37. Steiner, Henriette. 2015. “Surface as Screen and Performative Monuments: A Review of (1) Giuliana Bruno, Surface: Matters of Aesthetics, Materiality, and Media and (2) Mechtild Widrich, Performative Monuments: The Rematerialisation of Public Art.” Architectural Histories 3(1). doi:10.5334/ah.cg.
38. Teh, Cheryl. “China Built a Massive 190-Foot Statue of a God of War That Locals Don’t like. Now It’ll Cost More than $20 Million to Move the Hulking Work of Art.” Business Insider. https://www.businessinsider.com/china-spending-20-million-remove-colossal-god-of-war-statue-2021-9 (February 25, 2024).
39. “The Surprising Reason Why So Many Civil War Memorials Look Almost Exactly the Same.” 2018. TIME. https://time.com/5337148/civil-war-memorial-statues/ (February 21, 2024).
40. “The Woe of the Vanquished.” Vladimir Pomortzeff. https://pomortzeff.com/german (February 25, 2024).
41. Trigger, Bruce G. 1990. “Monumental Architecture: A Thermodynamic Explanation of Symbolic Behaviour.” World Archaeology 22(2,): 119–32.
42. Watkins, Hanne M., and Brock Bastian. 2019. “Lest We Forget: The Effect of War Commemorations on Regret, Positive Moral Emotions, and Support for War.” Social Psychological and Personality Science 10(8): 1084–91. doi:10.1177/1948550619829067.
43. Webber-Heffernan, Shalon. 2018. “Performing Monument: Future Warnings.”
44. Васильева, Анна. 2023. “«Рекламная конструкция демонтирована»: в России тайно сносят памятники жертвам политических репрессий.” Такие дела. https://takiedela.ru/2023/11/v-rossii-tayno-snosyat-pamyatniki-zhertv/ (February 21, 2024).
45. “Великая Победа - карта мест памяти героям 1941-1945.” Великая Победа. https://xn--80aaccmdcvsi0bl1s.xn--p1ai/ (February 21, 2024).
46. “«Величайший и Любимейший Эпос Нашего Века»: Проекты Советских Военных Монументов 1941—1945 Годов.” https://www.nlobooks.ru/magazines/novoe_literaturnoe_obozrenie/167_nlo_1_2021/article/23136/ (March 21, 2023).
47. В.к, Агафонова. 2018. “Визуальные Особенности Военных Памятников в России Конца XIX – Начала ХХ Вв.” Исторический журнал: научные исследования (3): 13–23. doi:10.7256/2454-0609.2018.3.26081.
48. ИнфоРост, Н. П. “Из Истории Советской Архитектуры. 1941-1945. Хроника Военных Лет. Архитектурная Печать.” https://docs.historyrussia.org/ru/nodes/259168-iz-istorii-sovetskoy-arhitektury-1941-1945-hronika-voennyh-let-arhitekturnaya-pechat#mode/inspect/page/32/zoom/4 (February 13, 2024a).
49. ИнфоРост, Н. П. “Из Статьи И. Мацы «Памятники Героям». 11 Сентября 1943 г.” https://docs.historyrussia.org/ru/nodes/265880-iz-stati-i-matsy-locale-nil-pamyatniki-geroyam-locale-nil-11-sentyabrya-1943-g#mode/inspect/page/1/zoom/4 (February 25, 2024b).
50. “Модернистский Монумент Для Классического Города » ИНТЕЛРОС.” http://www.intelros.ru/readroom/nz/128-2020/41266-modernistskiy-monument-dlya-klassicheskogo-goroda.html (February 13, 2024).
51. “Памятники великой отечественной войны в поздний советский период.” Proceedings of Petrozavodsk State University.
1. Arnheim, Rudolf. 1977. The Dynamics of Architectural Form: Based on the 1975 Mary Duke Biddle Lectures at the Cooper Union. Berkeley: Univ of California Pr.
2. Augé, Marc. 2004. Oblivion. Minneapolis: University of Minnesota Press.
3. Baines, Gary. 2019. “A Duty to Remember (and Forget?): A Transnational Perspective on Commemorating War.” In War and Memorials, eds. Frank Jacob and Kenneth Pearl. Brill | Schöningh, 23–44. doi:10.30965/9783657788224_003.
4. Connerton, Paul. 1989. How Societies Remember. First Edition. Cambridge England ; New York: Cambridge University Press.
5. Houlton, Thomas. 2021. Monuments as Cultural and Critical Objects: From Mesolithic to Eco-Queer. 1st ed. London: Routledge. doi:10.4324/9780429197550.
6. Kirschenbaum, Lisa A. 2006. The Legacy of the Siege of Leningrad, 1941–1995: Myth, Memories, and Monuments. Illustrated edition. New York: Cambridge University Press.
7. Lambert, Ladina Bezzola, Andrea Ochsner, Regula Hohl Trillini, Jennifer Jermann, and Markus Marti. 2009. Moment to Monument: The Making and Unmaking of Cultural Significance. Bielefeld: Transcript.
8. Lefebvre, Henri, Donald Nicholson-Smith, and Henri Lefebvre. 2013. The Production of Space. 33. print. Malden: Blackwell Publishing.
9. Massey, Doreen, and Professor Doreen B. Massey. 2005. For Space. SAGE.
10. Nietzsche, Friedrich Wilhelm, Julius Kraft, and Adrian Collins. 1995. The Use and Abuse of History. 2nd rev. ed. New York: Macmillan.
11. Rieff, David. 2011. Against Remembrance. Carlton, Victoria: Melbourne University Press.
12. Widrich, Mechtild. 2014. Performative Monuments: The Rematerialisation of Public Art. Manchester, United Kingdom ; New York: Manchester University Press.
13. Wilson, Peter J. 1991. The Domestication of the Human Species. Yale University Press.
14. В.В. Бондарь, А.Н. Еремеева, О.Н. Маркова, Т.Ю. Юренева. 2022. Государственная монументальная политика: опыт, противовречия, перспективы. Москва: Институт наследия.
PAPERS
1. Abousnnouga, Gill, and David Machin. 2010. “Analysing the Language of War Monuments.” Visual Communication 9(2): 131–49. doi:10.1177/1470357210369884.
2. Abousnnouga, Gill, and David Machin. 2011a. “The Changing Spaces of War Commemoration: A Multimodal Analysis of the Discourses of British Monuments.” Social Semiotics 21(2): 175–96. doi:10.1080/10350330.2011.548640.
3. Abousnnouga, Gill, and David Machin. 2011b. “Visual Discourses of the Role of Women in War Commemoration: A Multimodal Analysis of British War Monuments.” Journal of Language and Politics 10(3): 322–46. doi:10.1075/jlp.10.3.02abo.
4. “Author(s): Matti Bunzl.” 1995. History and Memory 7(2): 7–40.
5. Bergholz, Max. 2010. “The Strange Silence: Explaining the Absence of Monuments for Muslim Civilians Killed in Bosnia during the Second World War.” East European Politics and Societies: and Cultures 24(3): 408–34. doi:10.1177/0888325409360212.
6. Brüggemann, Karsten, and Andres Kasekamp. 2008. “The Politics of History and the ‘War of Monuments’ in Estonia.” Nationalities Papers 36(3): 425–48. doi:10.1080/00905990802080646.
7. Burch, Stuart, and David J. Smith. 2007. “Empty Spaces and the Value of Symbols: Estonia’s ‘War of Monuments’ from Another Angle.” Europe-Asia Studies 59(6): 913–36.
8. Cohen, Aaron J. 2014. “‘Our Russian Passport’: First World War Monuments, Transnational Commemoration, and the Russian Emigration in Europe, 1918–39.” Journal of Contemporary History 49(4): 627–51. doi:10.1177/0022009414538469.
9. Cook, Robert. 2020. “Civil War Monuments and the Militarization of America by Thomas J. Brown.” The Journal of the Civil War Era 10(3): 432–34. doi:10.1353/cwe.2020.0065.
10. Dimitrova, Snezhana. 2005. “‘Taming the Death’: The Culture of Death (1915-18) and Its Remembering and Commemorating through First World War Soldier Monuments in Bulgaria (1917-44).” Social History 30(2): 175–94.
11. European University at St Petersburg, Russia, and V.G. Bass. 2017. “The Monument: who controls the past. On one mechanism of architectural commemoration.” Sociology of Power 29(1): 122–55. doi:10.22394/2074-0492-2017-1-122-155.
12. Gottdiener, M. 1993. “A Marx for Our Time: Henri Lefebvre and the Production of Space.” Sociological Theory 11(1): 129. doi:10.2307/201984.
13. Grant, Susan-Mary. 2020. “Civil War Monuments and the Militarization of America: By Thomas J. Brown, Chapel Hill: University of North Carolina Press, 2019, Pp. 384, $90.00 (Hbk), $29.95 (Pbk), ISBN 9781469653730, ISBN 9781469653747.” American Nineteenth Century History 21(2): 207–8. doi:10.1080/14664658.2020.1789362.
14. Grider, Nicholas. 2007. “ Faces of the Fallen’ and the Dematerialization of US War Memorials.” Visual Communication 6(3): 265–79. doi:10.1177/1470357207081000.
15. Isto, Raino. 2021. “‘Weak Monumentality’: Contemporary Art, Reparative Action, and Postsocialist Conditions.” RACAR : Revue d’art canadienne 46(2): 34. doi:10.7202/1085419ar.
16. Kobiałka, Dawid. 2019. “Living Monuments of the Second World War: Terrestrial Laser Scanning and Trees with Carvings.” International Journal of Historical Archaeology 23(1): 129–52. doi:10.1007/s10761-018-0462-5.
17. Kruk, Sergei. 2008. “Semiotics of Visual Iconicity in Leninist monumental’ Propaganda.” Visual Communication 7(1): 27–56. doi:10.1177/1470357207084864.
18. Krzyżanowska, Natalia. 2016. “The Discourse of Counter-Monuments: Semiotics of Material Commemoration in Contemporary Urban Spaces.” Social Semiotics 26(5): 465–85. doi:10.1080/10350330.2015.1096132.
19. Krzyżanowska, Natalia. 2017. “(Counter)Monuments and (Anti)Memory in the City. An Aesthetic and Socio-Theoretical Approach.” doi:10.19205/47.17.6.
20. Kuliši, Marija, and Miroslav Tu. “Monument as a Form of Collective Memory and Public Knowledge.”
21. Legvold, Robert, and Nina Tumarkin. 1995. “The Living and the Dead: The Rise and Fall of the Cult of World War II in Russia.” Foreign Affairs 74(3): 182. doi:10.2307/20047171.
22. Liscia, Valentina Di. 2021. “Violence Is The Most Common Subject of Commemoration in US Monuments.” Hyperallergic. http://hyperallergic.com/681501/violence-is-the-most-common-subject-of-commemoration-in-us-monuments/ (March 26, 2024).
23. Magazine, Smithsonian, and Bridget Alex. “Archaeologists Propose 4,500-Year-Old Burial Mound Was World’s First Military Memorial.” Smithsonian Magazine. https://www.smithsonianmag.com/science-nature/archaeologists-propose-4500-year-old-burial-mound-was-worlds-first-military-memorial-180977981/ (February 21, 2024).
24. Nadali, Davide. “Monuments of War, War of Monuments: Some Considerations on Commemorating War in the Third Millennium Bcl.”
25. Nicol, Liz, and Jane Hutchinson. 2020. “Keep Your Kodak Busy: Monuments of the Great War.” Mortality 25(1): 69–98. doi:10.1080/13576275.2019.1682982.
26. “Performative Monuments: The Rematerialisation of Public Art.” Performative Monuments: The Rematerialisation of Public Art. http://www.caareviews.org/reviews/2428 (February 12, 2024).
27. Pollard, Joshua. 1999. “The Significance of Monuments. By R ichard B radley.” Archaeological Journal 156(1): 426–27. doi:10.1080/00665983.1999.11078923.
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