{"id":42780,"date":"2021-10-22T12:17:35","date_gmt":"2021-10-22T16:17:35","guid":{"rendered":"https:\/\/rehs.com\/eng\/?p=42780"},"modified":"2024-02-26T01:09:21","modified_gmt":"2024-02-26T06:09:21","slug":"decisions-in-revision-reimagining-a-christopher-columbus-monument","status":"publish","type":"post","link":"https:\/\/rehs.com\/eng\/2021\/10\/decisions-in-revision-reimagining-a-christopher-columbus-monument\/","title":{"rendered":"Decisions in Revision: Reimagining a Christopher Columbus Monument"},"content":{"rendered":"<p style=\"margin: 0in; text-indent: 0.5in;\"><span style=\"color: black;\">\u00a0<\/span><\/p>\n<div id=\"attachment_42781\" style=\"width: 255px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/rehs.com\/eng\/wp-content\/uploads\/2021\/10\/Monumento_a_Colon_Buenos_Aires.jpg\"><img decoding=\"async\" aria-describedby=\"caption-attachment-42781\" class=\" wp-image-42781\" src=\"https:\/\/rehs.com\/eng\/wp-content\/uploads\/2021\/10\/Monumento_a_Colon_Buenos_Aires-300x300.jpg\" alt=\"picture of a sculpture of Columbus\" width=\"245\" height=\"245\" srcset=\"https:\/\/rehs.com\/eng\/wp-content\/uploads\/2021\/10\/Monumento_a_Colon_Buenos_Aires-300x300.jpg 300w, https:\/\/rehs.com\/eng\/wp-content\/uploads\/2021\/10\/Monumento_a_Colon_Buenos_Aires-1024x1024.jpg 1024w, https:\/\/rehs.com\/eng\/wp-content\/uploads\/2021\/10\/Monumento_a_Colon_Buenos_Aires-150x150.jpg 150w, https:\/\/rehs.com\/eng\/wp-content\/uploads\/2021\/10\/Monumento_a_Colon_Buenos_Aires-768x768.jpg 768w, https:\/\/rehs.com\/eng\/wp-content\/uploads\/2021\/10\/Monumento_a_Colon_Buenos_Aires.jpg 1200w\" sizes=\"(max-width: 245px) 100vw, 245px\" \/><\/a><p id=\"caption-attachment-42781\" class=\"wp-caption-text\">Monumento a Col\u00f3n, Buenos Aires<\/p><\/div>\n<p style=\"margin: 0in;\"><span style=\"color: black;\">One of the ways society expresses admiration is public memorialization. Busts, plaques, obelisks, and statues all have a prominent place in our culture. They can be something you pass every day, or an iconic piece of a city skyline. It can be something you pay no mind to, or something to which you attach deep personal meaning. But those revered by generations past might not have the same reputation today. Nowadays, many don\u2019t feel entirely comfortable with the existence of certain glorious public monuments, some built decades or centuries ago, that represent the values of that era. Perceptions change over time, with yesterday\u2019s heroes becoming today\u2019s villains. While determining who remains memorialized is important, a trickier question remains: what do we do with those public artworks that we have decided cannot remain in public anymore?<\/span><\/p>\n<p><span style=\"color: black;\">While many agree that figures such as Confederate generals and prominent imperialists should not be publicly valorized, the question of what happens to their monuments remains a precarious subject. Some call for complete removal or even destruction, while others reject these proposals at face value. Some see that a compromise might be better. Just last weekend, Oxford\u2019s Oriel College made just such a compromise, choosing not to take down a statue of the British imperialist and De Beers founder <\/span><a href=\"https:\/\/www.theguardian.com\/education\/2021\/oct\/11\/oxford-college-installs-plaque-calling-cecil-rhodes-a-committed-colonialist\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">Cecil Rhodes<\/span><\/a><span style=\"color: black;\">. Instead, they installed a plaque nearby providing historical context. The plaque describes Rhodes not as a paragon of British virtue and industry, but as a \u201ccommitted British colonialist\u201d who frequently exploited indigenous Africans. While several solutions have been put forth, one compelling path was forged at a recent exhibition in Argentina.<\/span><\/p>\n<p><span style=\"color: black;\">The Biennial of Contemporary Art of the South, or <\/span><a href=\"https:\/\/bienalsur.org\/en\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">Bienalsur<\/span><\/a><span style=\"color: black;\">, is an international art show based in Buenos Aires but held at multiple venues simultaneously across the globe. Its third edition this year is being held at 120 different venues in Argentina, Brazil, Mexico, Colombia, Morocco, Spain, France, Saudi Arabia, and Japan, while the Brazilian, Italian, and German embassies in Buenos Aires are also offering spaces for exhibition. As part of Bienalsur, the Argentine sculptor Alexis Minkiewicz is currently showing his most recent work at the Manzana de las Luces, a historic cultural center in Buenos Aires. It is his own take on how to approach problematic memorials: a reimagining of the city\u2019s controversial Christopher Columbus monument.<\/span><\/p>\n<p><span style=\"color: black;\">In 1921, <\/span><a href=\"https:\/\/live.staticflickr.com\/8283\/7730558724_4143652c12_b.jpg\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">a monument commemorating Christopher Columbus<\/span><\/a><span style=\"color: black;\"> was unveiled in Buenos Aires. Antonio Devoto, representing the city\u2019s Italian community, commissioned the work in 1910 for Argentina\u2019s centenary celebrations. Over the course of those eleven years, the Italian sculptor Arnoldo Zocchi completed the Carrara marble pieces, which were then transported across the Atlantic and assembled in Argentina\u2019s capital. The monument stands 85-feet-high, with Columbus atop a plinth looking out across the R\u00edo de la Plata. Reminiscent of the Roman public monuments designed by <\/span><a href=\"https:\/\/rderealphotos.files.wordpress.com\/2016\/07\/img_6048.jpg\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">Bernini<\/span><\/a><span style=\"color: black;\">, the base of the plinth is surrounded by a whirlwind of figures fitting together like a Baroque pile-on. At the front, facing the river, <\/span><a href=\"https:\/\/s3.amazonaws.com\/arc-wordpress-client-uploads\/infobae-wp\/wp-content\/uploads\/2019\/06\/07112734\/ESTATUA-COLON-5.jpg\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">a helmed female figure<\/span><\/a><span style=\"color: black;\"> holding a torch is meant to represent civilization. To her left, a boyish angel points out across the water, like a lookout on the prow of a stone ship.<\/span><\/p>\n<p><span style=\"color: black;\">While monuments such as this have received their share of criticism over the years, in a way Zocchi\u2019s Columbus monument has already received a downgrade. It now stands in the Costanera Norte riverside park, near Jorge Newbery Airfield on the northern edge of the city. However, until 2013 the Columbus monument used to stand in the square directly behind the Casa Rosada, Argentina\u2019s presidential palace. It became controversial for similar reasons as the <\/span><a href=\"https:\/\/arc-anglerfish-washpost-prod-washpost.s3.amazonaws.com\/public\/2ABJRZVVQQI6VGQ52PNRZPQHZY.jpg\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">equestrian statue of Andrew Jackson<\/span><\/a><span style=\"color: black;\"> behind the White House. President Cristina Fern\u00e1ndez de Kirchner <\/span><a href=\"https:\/\/www.history.ucsb.edu\/wp-content\/uploads\/2013_8_31_X5DigE5WUeSZgk1oMdtk62.jpg\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">had the Columbus monument moved<\/span><\/a><span style=\"color: black;\"> to its less-prominent, current location, replacing it with a <\/span><a href=\"https:\/\/live.staticflickr.com\/65535\/50068779373_26fab72bf8_b.jpg\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">statue commemorating Juana Azurduy de Padilla<\/span><\/a><span style=\"color: black;\">, a mixed-race female military commander from the wars of independence.<\/span><\/p>\n<p><span style=\"color: black;\">According to <\/span><a href=\"https:\/\/bienalsur.org\/es\/single_agenda\/351\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">Bienalsur\u2019s website<\/span><\/a><span style=\"color: black;\">, \u201cDismantling the legacy of colonialism may require a more complicated solution than removing its symbols and replacing them with new ones.\u201d Creating this new path between destruction and preservation, Alexis Minkiewicz has created his sculpture group <i>La piedad de las estatuas<\/i> (<i>The Piety of Statues<\/i>), using recreated parts of the original Zocchi monument as a way to reimagine the original work. The only part of the sculpture group that is radically different from the original monument is <\/span><a href=\"https:\/\/i1.wp.com\/lechatmagazine.com\/wp-content\/uploads\/2021\/10\/obra-orgia-de-colon-pulgos-arte-revista-le-chat-magazine-1.jpg?resize=800%2C802&amp;ssl=1\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">Columbus himself<\/span><\/a><span style=\"color: black;\">. He is shown completely nude other than his shoes and hat, with two octopi covering his genitals and parts of his face. Many have described the figures\u2019 placement as almost orgy-like, reminiscent of the 1814 <\/span><span style=\"color: #333333; background: white;\">Katsushika Hokusai print <\/span><a href=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/b\/b7\/Tako_to_ama_retouched.jpg\" target=\"_blank\" rel=\"noopener\"><i><span style=\"color: #1155cc; background: white;\">The Dream of the Fisherman\u2019s Wife<\/span><\/i><\/a><span style=\"color: black;\">. Looking on from the side are <\/span><a href=\"https:\/\/resizer.glanacion.com\/resizer\/9i3WbqwfEWALu7up8CIqyqk2540=\/879x0\/filters:quality(80)\/cloudfront-us-east-1.images.arcpublishing.com\/lanacionar\/X6Y27HQ3GRB3JDGEMDS7XSK6XQ.JPG\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">a duo of nude sailors<\/span><\/a><span style=\"color: black;\">, while the angel originally next to the torch-bearing woman now <\/span><a href=\"https:\/\/images.clarin.com\/2021\/10\/08\/el-angel-del-original-monumento___OmMjKXhER_720x0__1.jpg\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">stands on the roof<\/span><\/a><span style=\"color: black;\"> overlooking the courtyard. Rather than looking ahead, Minkiewicz\u2019s angel seems like he\u2019s stumbled across Columbus and his octopi, adding a touch of voyeurism. His wings have also been removed and are hanging on hooks that, according to <\/span><a href=\"https:\/\/www.lanacion.com.ar\/cultura\/colon-volvio-al-casco-historico-como-protagonista-de-una-fantasia-erotica-en-la-manzana-de-las-luces-nid12102021\/\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">Daniel Gigena<\/span><\/a><span style=\"color: black;\">, make them look \u201cas if they are sides of beef.\u201d In numerous <\/span><a href=\"https:\/\/www.clarin.com\/cultura\/cristobal-colon-orgia-pulpos-instalacion-impacta-manzana-luces_0_4z4aZSy5R.html\" target=\"_blank\" rel=\"noopener\"><span style=\"color: #1155cc;\">articles<\/span><\/a><span style=\"color: black;\">, Minkiewicz has said that he is not concerned with Columbus himself. Instead, he has tried to focus specifically on the \u201ccarnality\u201d and \u201cerotic potential\u201d of Zocchi\u2019s monument. In creating a new work, there is \u201ca sensation from sculptor to sculptor,\u201d establishing \u201ca dialogue with [the monument\u2019s] creator across time.\u201d<\/span><\/p>\n<p><span style=\"color: black;\">Reactions to Minkiwiez\u2019s sculpture range from a silent chuckle to a baffled eye roll, showing a mixture of contempt and disbelief. Such reactions are unwarranted, and this Argentine artist has contributed a serious, new way to approach the ongoing monuments debate. Minkiewicz has not destroyed or defaced the monument, nor has he preserved it entirely. In the same way that we should neither sanitize nor completely erase our dark and disgraceful historical episodes, Minkiewicz neither keeps nor removes Zocchi\u2019s monument. Like he sought to do, he has reimagined the work, thereby engaging with all those who contributed to the monument\u2019s creation across time and space. Free discourse, even with those who are long gone, is possible, and may be one of the most effective yet underutilized ways to approach these subjects. Hopefully we can follow the example of Alexis Minkiewicz in doing just that.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00a0 One of the ways society expresses admiration is public memorialization. Busts, plaques, obelisks, and statues all have a prominent place in our culture. They can be something you pass every day, or an iconic piece of a city skyline. &hellip; <a href=\"https:\/\/rehs.com\/eng\/2021\/10\/decisions-in-revision-reimagining-a-christopher-columbus-monument\/?contemporary=N\">More&#8230;<\/a><\/p>\n","protected":false},"author":6,"featured_media":42781,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[85],"class_list":["post-42780","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rehs-contemporary","tag-sculpture"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.9 (Yoast SEO v27.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Edouard Cortes&#039;s &quot;L&#039;Arc de Triomphe&quot;Decisions in Revision: Reimagining a Christopher Columbus Monument<\/title>\n<meta name=\"description\" content=\"An artist who recreated &amp; reimagined a famous 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