By Tanja Schult
Raoul Wallenberg is greatly remembered for his humanitarian job on behalf of the Hungarian Jews in Budapest on the finish of global struggle II, and referred to as the Swedish diplomat who disappeared into the Soviet Gulag in 1945. this present day, Wallenberg’s instance is used to speak humanitarian values and human rights in lots of democratic societies. His tale encompasses a classical hero narrative which has survived the ‘un-heroic’ twentieth century.
In 2008, there exist thirty-one Wallenberg monuments in twelve international locations on 5 continents, from Hungary to Sweden, from Canada to Chile, from Australia to Russia. the wealthy range of the monuments invitations to debate different innovations of Wallenberg and heroism as expressed within the artists’ works. The art-historical concentration of this interdisciplinary examine makes it a important contribution to the dialogue of private monuments, in addition to to the socio-historical learn at the commemoration of Wallenberg and the idea that of the hero.
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Additional info for A Hero's Many Faces: Raoul Wallenberg in Contemporary Monuments (Holocaust and Its Contexts)
These artists apparently felt a strong need to differentiate their works from the monuments of former decades, which were stigmatized by political misuse. Such reflections and developments, as only suggested here, of course had a strong influence on the monument genre. This will be further discussed when we investigate the Raoul Wallenberg monuments. Here we conclude by stating that since the late nineteenth century the end of the monument genre has repeatedly been announced but has never became reality.
After being the subject of considerable controversy during the nineteenth and twentieth centuries the renewed interest and further development of the genre contributed to its enjoying a renaissance, particularly since the 1980s. In terms of Holocaust-related subjects, the monument discourse has changed over the years. 53 At the same time, the human figure became “monument worthy” again, both to honor the deeds of an individual as well as to 18 A Hero’s Many Faces commemorate the suffering of victim groups.
Many artists took up the problem of “monumentality” including the Swedish artist Alejandra Introduction 17 Lundén with her installation För tro—en installation med 843 byggklossar (For Belief—An Installation With 843 Building Bricks, 2006–). The names and life data of children who died in the Israeli-Palestine conflict are engraved onto building bricks. While children play innocently with these colorful bricks during the exhibition, their parents are overwhelmed by discomfort because they realize the context to which the bricks refer.