Download A Hero's Many Faces: Raoul Wallenberg in Contemporary by Tanja Schult PDF

By Tanja Schult

Raoul Wallenberg is greatly remembered for his humanitarian task on behalf of the Hungarian Jews in Budapest on the finish of global conflict II, and referred to as the Swedish diplomat who disappeared into the Soviet Gulag in 1945. this 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 variety of the monuments invitations to debate different strategies of Wallenberg and heroism as expressed within the artists’ works. The art-historical concentration of this interdisciplinary research makes it a important contribution to the dialogue of non-public monuments, in addition to to the socio-historical study at the commemoration of Wallenberg and the idea that of the hero.

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Extra info for A Hero's Many Faces: Raoul Wallenberg in Contemporary Monuments (Holocaust and Its Contexts)

Sample text

The number of stones gave the monument its title: 2146 Steine—Mahnmal gegen Rassismus Saarbrücken (2146 Stones—Memorial Against Racism Saarbrücken). The action left no visible traces but caused an intense public debate. The process of engraving names on the bottom side of the stones and replacing the stones in exactly the same order brings to mind the acts of concealment of the Nazi crimes during and after the war. It visualized the all too-common pattern of brushing Nazi crimes under the carpet and pretending that nothing had happened.

The number of stones gave the monument its title: 2146 Steine—Mahnmal gegen Rassismus Saarbrücken (2146 Stones—Memorial Against Racism Saarbrücken). The action left no visible traces but caused an intense public debate. The process of engraving names on the bottom side of the stones and replacing the stones in exactly the same order brings to mind the acts of concealment of the Nazi crimes during and after the war. It visualized the all too-common pattern of brushing Nazi crimes under the carpet and pretending that nothing had happened.

Without wanting to exaggerate the political or moral relevance of monuments and despite the genre’s widely postulated invisibility,57 monuments can influence at least particular individuals. 58 They exist in public places that belong to all and everyone. In this way, the medium can indeed be a very democratic genre. People may only bump into these works accidentally but, given their positioning in public places, the monuments can find an audience with individuals coming from all ranges of society, thereby attracting attention to a particular subject.

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