Remembering the past, articulating the present: the political dimension of the use of monuments in artistic expressions
Aesthetics; Politics; Contemporary Art; Monument; Monumentality
The monument object is, in general, a communicator of hegemonic narratives, associated with the spatialization of power and the continuity of memories in the present. This point might have remained unchanged were it not for the growing attention given by social and artistic movements that, guided by a growing political debate, have questioned these static presences with greater emphasis since the 2010s. These new perspectives begin to point out problems regarding these objects, highlighting their old semantic and political contents and pointing to new possibilities for relating to these figures, creating a debate about the role of monuments in contemporary times. However, the relationships that emerge from a multifaceted object—a heritage item, an art object, the fruit of a political position—are diverse and complex. By closely examining the discussion, we realize that it is a political struggle, taking place in the realm of the sensitive, in the mediation of the possibilities that certain bodies have to be and be represented in spaces and imaginaries. Within this conflict, and given the difficulties of altering the monument due to its heritage nature, we find in these demonstrations a potential for transformation and updating, as they utilize the object poetically, conceptually, and sometimes physically, transforming it into a platform for broader democratic discussions. This work aims to investigate these demonstrations, emphasizing their political dimensions, in order to contribute to the critique of the monument and its potential uses in the contemporary context, focusing on three works: "Parthenon of Books" by Marta Minujin; "Ensacamentos" by the 3Nós3 Collective; and "Brazil Terra Indigena" by Denilson Baniwa.