What’s in a Name? Questions for a New Monument

Abstract

What is the contemporary condition of the monument? In relation to the current issue’s discussion of immersive and discursive exhibition practices, this essay places itself at a slight remove; rather than to analyse and evaluate specific curatorial strategies it seeks to raise questions of relevance to such practices and begins by moving the discourse out of the museum and into the public space. The point of interrogation here is the monument, a form with a particular capacity to tease and expose the triad we find at the core of any curatorial discourse: the relation between institution, artwork and audience. Following an introductory reflection on how to describe and define a ‘monument’, a term so broadly used it all but loses its value, the text proceeds to examine three cases, Monument de la Renaissance Africaine, Dakar (2010), Danh Vo’s WE THE PEOPLE (DETAIL), various locations (2010-13), and Thomas Hirschhorn’s Gramsci Monument, New York (2013). The sequencing of these geographically and culturally diverse works makes way for an interrogatory piece of writing that addresses the question of permanence versus temporariness of the artwork as exhibition (and the exhibition as artwork), and that of the political agency of the artistic form. Probing the social agency of the monument, the text draws lines between the symbolising capacity once held by modern sculpture and the oscillation between immersion and discursiveness as two complimentary modes of communication. The discursive content or function of the monument (i.e. what it commemorates) is activated through the viewer’s personal, immersive encounter with its form, a form that potentially places its viewer as a participant to the construction of its message rather than as a mere receiver.