• « La redevance à la Ville de Paris a quadruplé » : les mauvais comptes de la tour Eiffel épinglés par ses employés  Charles Plantade - Le figaro

    Le monument emblématique de la capitale est fermé ce lundi en raison d’une grève de ses salariés, qui dénoncent le modèle économique « trop ambitieux et intenable » imposé par la Mairie au péril de l’édifice.
    . . . . . .
    À l’origine de cette grève reconductible, les syndicats CGT et Force Ouvrière dénoncent « la gestion actuelle qui mène tout droit la Société d’exploitation de la Tour Eiffel (Sete) dans les pires difficultés ». En cause, un modèle économique considéré comme « trop ambitieux et intenable » imposé par la Mairie de Paris, l’actionnaire ultra-majoritaire avec 99% du capital de l’entreprise. À l’occasion du centenaire de la mort de Gustave Eiffel, le 27 décembre dernier, les syndicats du personnel avaient déjà tiré la sonnette d’alarme et bloqué l’édifice toute une journée.
    . . . . . .


    Monument en danger
    Une situation compliquée à laquelle s’ajoute une augmentation progressive de la redevance versée par la Sete à la Ville. Celle-ci est passée successivement de 8 millions d’euros de 2018 à 2021, puis à 16 millions d’euros en 2022 et « devrait quadrupler pour atteindre 50 millions d’euros : une somme beaucoup trop élevée par rapport aux frais des travaux », expliquent au Figaro des représentants syndicaux Force Ouvrière.
    . . . . . .
    Inquiétudes et consensus
    Et à la Dame de Fer d’en pâtir : malgré les 128 millions d’euros investis depuis 2019, « de nombreux points de corrosion sont visibles, symptômes d’une dégradation inquiétante du monument », constatent les représentants syndicaux, pour qui les moyens mobilisés « ne permettent pas d’assurer la pérennité du monument ». Si la Sete prévoit bien une augmentation de 20% du prix des billets pour compenser, le « modèle de base n’a pas été changé », déplorait un représentant CGT à l’AFP.

    Source : https://www.lefigaro.fr/social/la-redevance-a-la-ville-de-paris-a-quadruple-les-mauvais-comptes-de-la-tour

    #paris #ps #anne_hidalgo #hidalgo #ville_de_paris #monument

  • Briançon : un cairn en #hommage aux migrants décédés érigé au petit matin

    Ce mardi 6 février, au petit matin, un collectif de « solidaires des personnes exilées » a érigé un cairn en hommage “aux morts aux frontières”, à proximité de la porte du pont d’Asfeld, dans la vieille ville de Briançon.

    Il est un peu plus de 7 heures, ce mardi 6 février à Briançon, et le soleil n’a pas encore percé depuis l’Italie, à quelques dizaines de kilomètres. Sur la petite butte, juste après avoir passé la porte de la cité Vauban en direction du pont d’Asfeld, un petit groupe s’affaire à la frontale et à la truelle : un collectif de « solidaires des personnes exilées » érige un cairn.

    (#paywall)

    https://www.ledauphine.com/societe/2024/02/06/briancon-un-cairn-en-hommage-aux-migrants-decedes-erige-au-petit-matin
    #mémoire #commémoration #Briançon #migrations #réfugiés #6_février #commémor'action #commémoraction #Hautes-Alepes #France #cairn #monument #mémoriel #morts_aux_frontières #mourir_aux_frontières #frontières #frontière_sud-alpine #mémorial #6_février_2024

  • Un mémoriel pour les mort·es aux frontières (région de l’Evros, Grèce) détruit

    Thread de Lena K. sur X :

    In August 2011, activists of the Welcome to Europe network & solidarians built a memorial for people who died while crossing the #Evros border: a water fountain at the village of Provatonas. The fountain now lies in ruin - visual proof of local hostility to border crossers.

    I found out about the fountain online, by chance. Like many aspects of the past of the local border regime and resistance to it, it’s been forgotten. I didn’t have time to investigate when, how and why it was destroyed (next time!) but one source suggests it was by locals:

    “Here we had built a fountain, as Greek tradition would have it, for travellers. To drink water, wash and rest before continuing their journey. Today this tap has been destroyed, they don’t even want the refugees to pass through here. On the one hand, I understand them

    A lot of people crossed then and never stopped crossing. People are tired. On the other hand, however, with what various people say and do, they have made people lose its humanity. I hope this broken fountain reminds us that we were human."

    https://www.avgi.gr/politiki/344653_ebros-thraysmata-pliroforisis

    The names of people who died crossing the #Evros were inscribed on the fountain. Its destruction erased them, rendering the dead nameless, dehumanising border crossers once again.

    https://athens.indymedia.org/post/1329456

    https://twitter.com/lk2015r/status/1692824778153787769

    #monument #mémoriel #mémoire #morts_aux_frontières #mourir_aux_frontières #asile #migrations #réfugiés #Grèce #frontières #destruction #Welcome_to_Europe #Provatonas

    • Μια βρύση-μνημείο των χαμένων μεταναστών-ριών στον Προβατώνα/Τυχερό Έβρου

      Όνομα και Αξιοπρέπεια για τους νεκρούς μετανάστες των συνόρων Μια βρύση-μνημείο των χαμένων μεταναστών-ριών στον Προβατώνα Έβρου

      Την Τρίτη 30 Αυγούστου με πρωτοβουλία του πανευρωπαϊκού δικτύου Welcome to Europe και πολλών αλληλέγγυων ανθρώπων, δημιουργήσαμε ένα μνημείο για τους χαμένους μετανάστες στα σύνορα του Έβρου. Για την Τζέιν και τον Μπασίρ που πνίγηκαν τον περασμένο χρόνο στο ποτάμι, αλλά και για τους εκατοντάδες άλλους, ανώνυμους νεκρούς και αγνοούμενους των συνόρων και των ναρκοπεδίων. Θελήσαμε να δώσουμε πίσω το Όνομα και την Αξιοπρέπεια, το σεβασμό που πρέπει σε κάθε νεκρό. Θελήσαμε, σε πείσμα των καιρών, να εκφράσουμε την Φιλοξενία και την αγωνία μας για τις διαστάσεις του εγκλήματος που λαμβάνει χώρα στα ευρωπαϊκά σύνορα. Θελήσαμε να πούμε όχι σε μια Ευρώπη που οχυρώνεται πίσω από το φόβο και χτίζει τείχη, σε μια Ευρώπη που μετατρέπει τους μετανάστες και μετανάστριες σε αποδιοπομπαίους τράγους της κρίσης. Να πούμε όχι σε μια Ευρώπη που μετατρέπει τους χιλιάδες νεκρούς των συνόρων σε αριθμούς και στατιστικές και που εξακολουθεί να τους μεταχειρίζεται ως ανεπιθύμητους ακόμη και μετά θάνατον. Όπως ανακαλύψαμε το 2010, υπάρχει ένας χώρος ταφής στο Σιδηρώ, που σε καμιά περίπτωση δεν μπορεί να χαρακτηριστεί νεκροταφείο, που προσβάλει τους νεκρούς και τους συγγενείς τους που έρχονται να τους αναζητήσουν. Από το 1995 μέχρι και το 2009, 104 άνθρωποι έχασαν τη ζωή τους από νάρκες και 187 ακρωτηριάστηκαν. Μόνο το 2011 έχουν σκοτωθεί στα σύνορα του Έβρου 70 άνθρωποι, 47 από τους οποίους δεν έχουν ταυτοποιηθεί. Λίγες ημέρες πριν, ένας ακόμη μετανάστης έπεφτε νεκρός όταν περιπολία της συνοριοφυλακής και της Frontex άνοιξε πυρ εναντίον ομάδας που διέσχιζε το ποτάμι. Πρόκειται για ένα έγκλημα που μένει ατιμώρητο, για μια βαρβαρότητα που ωστόσο δικαιολογούν και υποθάλπουν κυβερνήσεις και αξιωματούχοι. Στις 30 Αυγούστου βρεθήκαμε μαζί με συγγενείς και αγαπημένους δύο ανθρώπων που έχασαν τη ζωή τους στην περιοχή του Έβρου, με κατοίκους της περιοχής, με αντιρατσιστές-ριες που ήρθαν έπειτα από το Νο Border camp της Βουλγαρίας. Φτιάξαμε μια βρύση και τοποθετήσαμε μια επιγραφή με τα ονόματα των νεκρών, ένα μνημείο για όλους και όλες που έχουν χαθεί άδικα στα σύνορα. Η βρύση βρίσκεται στον Προβατώνα, στο δρόμο για το Τυχερό. Δίκτυο Welcome to Europe

      https://athens.indymedia.org/post/1329456

  • Crimes sexuels de guerre : une histoire de la #violence

    Israël a récemment annoncé l’ouverture d’une enquête sur de possibles #crimes_sexuels commis par le #Hamas. Le viol comme arme de guerre est aussi mis en avant dans le cadre de la guerre en Ukraine. L’invasion russe peut-elle servir de modèle pour comprendre les mécanismes de ces #violences ?

    Avec

    - #Sofi_Oksanen Écrivaine
    - #Céline_Bardet Juriste et enquêtrice criminelle internationale, fondatrice et directrice de l’ONG « We are Not Weapons of War »

    Israël a récemment ouvert une enquête sur d’éventuels crimes sexuels perpétrés par le Hamas. Parallèlement, l’utilisation du viol comme arme de guerre a été évoquée dans le contexte du conflit en Ukraine. Peut-on utiliser l’invasion russe comme un modèle pour comprendre les mécanismes de ces violences ?
    Le viol, arme de guerre traditionnelle des Russes ?

    Par son histoire familiale et ses origines estoniennes, l’écrivaine finlandaise Sofi Oksanen a vécu entre l’URSS et la Finlande et a grandi avec des récits de guerre lors de l’occupation soviétique des États baltes. Ces thèmes sont aujourd’hui centraux dans ses écrits. Selon elle, « dans la stratégie de guerre russe, il y a toujours eu des violences sexuelles. L’invasion en Ukraine est une sinistre répétition de la guerre telle que l’ont toujours menée des Russes. Et pourquoi n’ont-ils jamais cessé ? Car on ne leur a jamais demandé de le faire. »

    Les crimes sexuels font partie intégrante de la manière dont les Russes font la guerre. Elle déclare même dans son dernier ouvrage La guerre de Poutine contre les femmes que des soldats russes demandent la permission à leur famille pour commettre des viols : « ils sont adoubés et encouragés à commettre des crimes sexuels et des pillages. » Céline Bardet, juriste et enquêtrice internationale, insiste-t-elle sur la nécessité de documenter et de punir ces féminicides pour ce qu’ils sont. Elle dresse un parallèle avec la guerre en Syrie : « les femmes se déplaçaient par peur d’être violées. Quand on viole des hommes, on veut aussi les féminiser et les réduire à néant. »

    Comment mener une enquête sur les violences sexuelles en temps de guerre ?

    « J’ai créé depuis longtemps un site qui publie des rapports sur la situation. J’ai voulu écrire ces livres, car je voulais rendre accessible, faire comme une sorte de guide pour permettre de comprendre les crimes de guerre et comment les documenter. Sur les sites, il est difficile de relier les point entre eux pour comprendre la manière dont la Russie mène ses guerres. Elle conquiert et s’étend de la même manière. Il faut reconnaître ce schéma pour mieux le combattre. », explique Sofi Oksanen.

    Une opération hybride se déroule actuellement à la frontière entre la Finlande et la Russie : « la Russie nous envoie des réfugiés à la frontière. Cela s’était déjà produit en 2015, en Biélorussie également. Loukachenko a beaucoup recouru à ce moyen de pression. La Finlande a alors fermé sa frontière ». La Russie est également accusée de déportation d’enfants en Ukraine : « ces violences sont documentées. Concernant l’acte d’accusation émis par la CPI, beaucoup de gens en Ukraine y travaillent, mais avec des zones occupées, le travail de la justice prend plus de temps », déclare Céline Bardet.

    Concernant les violences effectuées contre des femmes par le Hamas le 7 octobre, Céline Bardet émet néanmoins des réserves sur la potentielle qualification de « féminicide de masse » : « les éléments ne sont pas suffisants pour parler de féminicide de masse. Pour le considérer ainsi, il faut prouver une intention particulière de commettre des violences contre des femmes, car elles sont des femmes. Pour le moment, le féminicide n’est d’ailleurs pas une définition pour le droit international ».

    https://www.radiofrance.fr/franceculture/podcasts/france-culture-va-plus-loin-l-invite-e-des-matins/crimes-sexuels-de-guerre-une-histoire-de-la-violence-3840815
    #crimes_sexuels #viols_comme_arme_de_guerre #viols #guerre #viol_de_guerre #Bosnie #Bosnie-Herzégovine #Rwanda #génocide #outil_génocidaire #Libye #hommes #Ukraine #humiliation #pouvoir #armée_russe #torture #impunité #patriarcat #déshumanisation #nettoyage_ethnique #violence_de_masse #violences_sexuelles_dans_la_guerre #systématisation #féminicide #féminicides_de_masse #intentionnalité

    #podcast #audio

    Citations :
    Sofi Oksanen (min 30’54) : « Ce qui m’a poussée à écrire ce livre c’est que, vous savez, les #procès, ça coûte très cher, et ce qui m’inquiète c’est que certains crimes sexuels vont être marginalisés et ne sont pas jugés comme ils le devraient. Ils ne vont pas être jugés comme étant des crimes assez importants pour faire l’objet de poursuites particulières. Or, si on ne les juge pas, ces crimes, l’avenir des femmes et des enfants ne sera qu’assombri ».
    Céline Bardet (min 32’08) : « La justice c’est quoi ? C’est la poursuite au pénal, mais c’est aussi de parler de ces crimes, c’est aussi de donner la parole à ces survivantes et ces survivants si ils et elles veulent la prendre. C’est documenter ça et c’est mémoriser tout cela. Il faut qu’on sache ce qui se passe, il faut qu’on parle pour qu’en tant que société on comprenne l’origine de ces violences et qu’on essaie de mieux les prévenir. Tout ça se sont des éléments qui font partie de la justice. La justice ce n’est pas que un tribunal pénal qui poursuit quelqu’un. C’est énormément d’autres choses. »
    Sofi Oksanen (min 33’00) : « Je suis complètement d’accord avec Céline, il faut élargir la vision qu’on a de la justice. C’est bien d’en parler à la radio, d’en parler partout. Il faudrait peut-être organiser des journées de commémoration ou ériger un #monument même si certaines personnes trouveraient bizarre d’avoir un monument de #commémoration pour les victimes des violences sexuelles. »

    ping @_kg_

    • Deux fois dans le même fleuve. La guerre de Poutine contre les femmes
      de #Sofi_Oksanen

      Le 22 mars 2023, l’Académie suédoise a organisé une conférence sur les facteurs menaçant la liberté d’expression et la démocratie. Les intervenants étaient entre autres Arundhati Roy, Timothy Snyder et Sofi Oksanen, dont le discours s’intitulait La guerre de Poutine contre les femmes.
      Ce discours a suscité un si grand intérêt dans le public que Sofi Oksanen a décidé de publier un essai sur ce sujet, pour approfondir son analyse tout en abordant d’autres thèmes.
      L’idée dévelopée par Sofi Oksanen est la suivante : la Russie ressort sa vieille feuille de route en Ukraine – comme l’impératrice Catherine la Grande en Crimée en 1783, et comme l’URSS et Staline par la suite, à plus grand échelle et en versant encore plus de sang. La Russie n’a jamais tourné le dos à son passé impérialiste. Au contraire, le Kremlin s’est efforcé de diaboliser ses adversaires, s’appuyant ensuite sur cette propagande pour utiliser la violence sexuelle dans le cadre de la guerre et pour déshumaniser les victimes de crimes contre les droits de l’homme. Dans la Russie de Poutine, l’égalité est en déclin. La Russie réduit les femmes au silence, utilise le viol comme une arme et humilie ses victimes dans les médias en les menaçant publiquement de représailles.
      Un essai coup de poing par l’une des grandes autrices européennes contemporaines.

      https://www.editions-stock.fr/livre/deux-fois-dans-le-meme-fleuve-9782234096455
      #livre #Russie #femmes

    • #We_are_NOT_Weapons_of_War

      We are NOT Weapons of War (#WWoW) est une organisation non-gouvernementale française, enregistrée sous le statut Loi 1901. Basée à Paris, elle se consacre à la lutte contre les violences sexuelles liées aux conflits au niveau mondial. Fondée en 2014 par la juriste internationale Céline Bardet, WWoW propose une réponse globale, holistique et efficace à l’usage endémique du viol dans les environnements fragiles via des approches juridiques innovantes et créatives. WWoW travaille depuis plus de 5 ans à un plaidoyer mondial autour des violences sexuelles liées aux conflits et des crimes internationaux.

      L’ONG française We are NOT Weapons of War développe depuis plusieurs années la web-application BackUp, à vocation mondiale. BackUp est un outil de signalement et d’identification des victimes et de collecte, sauvegarde et analyse d’informations concernant les violences sexuelles perpétrées dans le cadre des conflits armés. Il donne une voix aux victimes, et contribue au recueil d’informations pouvant constituer des éléments de preuves légales.

      https://www.notaweaponofwar.org

      #justice #justice_pénale

  • Maudite soit la guerre
    http://anarlivres.free.fr/pages/nouveau.html#maudite

    Pour le centenaire (1923-2023) de l’édification du monument aux morts pacifiste de Gentioux (23), la municipalité organise trois jours de commémoration avec une série de spectacles, de conférences, d’expositions et de rencontres, les 3, 4 et 5 novembre. Programme complet...

    #guerre #pacifisme #Gentoux #MonumentMorts #anarchisme #libertaire #11novembre

  • VIDEO. Vivez en accéléré le déplacement hors-norme du monument aux morts de 940 tonnes à Toulouse
    https://france3-regions.francetvinfo.fr/occitanie/haute-garonne/toulouse/video-vivez-en-accelere-le-deplacement-hors-norme-du-mo

    https://france3-regions.francetvinfo.fr/image/TWAsjz9_o_-l8RweP76t7bw-yC4/930x620/regions/2023/08/31/whatsapp-image-2023-08-31-at-12-35-23-64f09545ce4145350

    #déprime #honte #toulouse
    ça ne les dérange pas que soit détériorer des quartiers entiers historiques et vivants de Toulouse (cf Matabiau actuellement), des arbres centenaires et des maisons toulousaines classées, non plus d’avoir une politique du logement zéro et d’un urbanisme violent tout comme de faire du business immobilier sans habitants mais un monument super môche, faut ABSOLUMENT le conserver quitte à le déplacer pour le remettre après les travaux :/

    #à_nos_enfants_morts_pour_l'industrie
    #monument_moche
    #mémoire_d'infanticides
    #en_marche_arrière
    #moudenc

    L’opération a coûté près de 7 millions d’euros sur les 3,2 milliards d’euros budgétisés pour l’ensemble des travaux de la ligne C du métro.

  • Dedicato a chi rimpiange le statue degli schiavisti

    Il dibattito sui monumenti civici è appassionante. Ma il punto non è la riscrittura della storia quanto la contesa dello spazio pubblico. Dopo decenni di privatizzazioni.

    Da storico dell’arte trovo appassionante il dibattito che, in tutto l’Occidente, divampa intorno alle statue civiche. Il punto non è la riscrittura della storia, tantomeno la sua cancellazione (come vorrebbe la vulgata di destra che lo condanna): il vero oggetto di contesa è lo spazio pubblico come luogo in cui una comunità civile costruisce se stessa attraverso un giudizio sul passato e indica una via verso il futuro.

    È commovente che questo accada dopo decenni di privatizzazioni selvagge che tendono a far letteralmente sparire, in tutto il mondo, il concetto stesso di spazio pubblico. Si dovrà convenire che tenere (letteralmente) su un piedistallo nella piazza (centro della polis e dunque luogo politico per eccellenza) un personaggio, significa indicarlo come modello di virtù civili. È l’equivalente civile della santificazione: “Guardatelo, prendetelo a esempio, fate come lui”. La statua che vedete nella fotografia in questa pagina raffigura Edward Colston (1636-1721) ricco magnate della Bristol dell’età barocca, fondatore di scuole e filantropo: “Uno dei più virtuosi e saggi figli della città”, lo celebrava l’iscrizione sul basamento dell’opera che lo raffigura. Ma questo sant’uomo era uno dei più terribili schiavisti dell’età moderna: le sue navi trasportarono dalle coste africane all’America almeno 100mila persone rapite ai loro villaggi e ai loro affetti. Non meno di 20mila morirono durante le disumane traversate oceaniche.

    Ebbene, il 7 giugno 2020, l’onda lunga delle manifestazioni per la dignità della vita dei neri suscitata dall’uccisione di George Floyd a Minneapolis, ha travolto anche Edward Colston: la statua è stata abbattuta, mutilata, dileggiata e infine gettata in acqua a furor di popolo. Non ci nascondiamo dietro un dito: se masse oppresse in tutto l’Occidente non riescono a condividere la saggia svolta contro il vandalismo compiuta dalla Rivoluzione trionfante, è appunto perché sono tuttora oppresse e sconfitte. Negli ultimi vent’anni a Bristol si era aperto un duro confronto su questa statua: una petizione per la sua rimozione aveva raccolto 11mila firme, ma le autorità si sono opposte financo all’apposizione di una targa che facesse conoscere al pubblico le ombre della vita di quell’uomo vissuto quasi quattrocento anni fa. Eppure, numerose installazioni spontanee avevano reso visibile intorno alla figura bronzea di Colston l’immane tragedia che egli provocò. La notte del 18 ottobre 2018 (Giornata europea della tratta contro gli esseri umani), apparve intorno alla statua un’installazione artistica che presentava una serie di figurine di cemento giacenti a terra. Erano disposte secondo la pianta di una delle navi negriere in cui gli schiavisti come Colston trasportavano le persone in America.

    A lato dell’installazione erano presenti i nomi delle professioni odierne a rischio di schiavitù moderne: dagli addetti all’autolavaggio ai domestici, ai raccoglitori di frutta. Un eccellente esempio di risemantizzazione. L’artista Banksy ne ha proposto un altro: “Ecco un’idea che si rivolge sia a chi sente la mancanza della statua di Colston sia a chi non la sente -scrive Banksy ai suoi 9,4 milioni di follower su Instagram-. Lo tiriamo fuori dall’acqua, lo rimettiamo sul piedistallo, gli mettiamo un cavo attorno al collo e facciamo realizzare alcune statue di bronzo a grandezza naturale di manifestanti nell’atto di tirarlo giù. Tutti contenti. Un giorno straordinario commemorato”. Non sarebbe una cattiva idea.

    https://altreconomia.it/dedicato-a-chi-rimpiange-le-statue-degli-schiavisti

    #monument #monuments #statue #esclavage #toponymie_politique
    #espace_public #Edward_Colston #Colston
    ping @cede

  • Vestiges d’Empire
    https://laviedesidees.fr/Vestiges-d-Empire.html

    À propos de : Pierre Sintès, dir., Rue d’Alger, Art, mémoire, espace public, éditions MF. Que faire des traces de l’histoire coloniale dans l’espace public ? À partir du cas de Marseille, un ouvrage collectif propose d’explorer la place des monumentalités impériales dans le tissu urbain, dans un dialogue entre recherche et création.

    #Histoire #politique_de_mémoire #empire
    https://laviedesidees.fr/IMG/docx/20230104_alger.docx
    https://laviedesidees.fr/IMG/pdf/20230104_alger.pdf

    • Rue d’Alger. Art, mémoire, espace public

      En Méditerranée comme ailleurs, les sociétés portent les traces des matrices politiques et identitaires produites par leur passé. C’est ainsi que, discrètes ou flagrantes, les mémoires de périodes aujourd’hui révolues telles que la colonisation ou les régimes autoritaires perdurent dans les paysages comme dans les imaginaires des villes d’aujourd’hui. Quel est le sens de la permanence de ces mémoires dissensuelles dans l’espace public ? Quels sont leurs effets de long terme sur les sociétés ? Depuis plusieurs décennies déjà, de nombreux acteurs (militants, artistes, chercheurs) ont entrepris de démontrer que les rapports inégaux du présent peuvent être éclairés à la lumière de l’histoire et de ses traces dans le présent. Pour certains, cette reconnaissance est devenue indispensable pour que soient construites des lectures plus apaisées du passé et qu’adviennent des sociétés plus respectueuses de la place de chacun. 

      En ce début de XXIe siècle, les exemples se répondent aux quatre coins du monde pour que soient reconnues les souffrances du passé comme les inégalités du présent. Qu’ils inquiètent (séparatisme), amusent (folklore) ou convainquent (progressisme), ces mouvements, souvent regroupés sous le terme de post- ou dé-coloniaux, méritent d’être évalués afin de comprendre les mécanismes contemporains d’appropriation du passé et de son patrimoine, ainsi que la puissance du rôle qu’ils jouent dans la formation ou la contestation des espaces publics. Ce mouvement, qui associe justice mémorielle et activisme, était au cœur des œuvres des artistes regroupées pour l’exposition Rue d’Alger, tenue à Marseille en octobre 2020 lors de la biennale d’art contemporain Manifesta 13. Accompagnant cet événement, un ensemble de rencontres et de débats se sont tenus dont cet ouvrage vise à rendre compte. La vingtaine de contributions qui en résulte permet d’aborder la demande croissante de justice mémorielle aujourd’hui formulée par de nombreux acteurs, dans des États-nations contemporains qui s’enferment souvent dans le mépris des particularités et le déni des oppressions du passé.

      https://www.editions-mf.com/produit/114/9782378040499/rue-d-alger
      #livre

  • Las estatuas más incómodas de América

    En años recientes, conquistadores, militares y caudillos han sido bajados de sus pedestales por manifestantes o por los mismos gobiernos, que enfrentan un debate creciente sobre los símbolos y deben definir qué hacer con los monumentos antiguos, qué representan y qué lugar les corresponde

    En marzo de 2011, durante una visita oficial a la Argentina, el entonces presidente Hugo Chávez vio la estatua que se levantaba detrás de la Casa Rosada y preguntó: “¿Qué hace ahí ese genocida?”. Era una escultura de Cristóbal Colón de unos seis metros de alto y 38 toneladas, hecha en mármol de Carrara, ubicada allí desde hacía casi un siglo. “Colón fue el jefe de una invasión que produjo no una matanza, sino un genocidio. Ahí hay que poner un indio”, dijo Chávez. Para los funcionarios que lo acompañaban, ciudadanos de un país donde aún se repite que los argentinos descienden de los barcos, aquella figura tal vez nunca había resultado incómoda hasta ese momento. Pero tomaron nota de sus palabras.

    El comentario de Chávez no solo fue disparador de la remoción del monumento dedicado al marino genovés en Buenos Aires —una medida que tomó el Gobierno de Cristina Kirchner en 2013 y desató una larga polémica y una batalla judicial con la comunidad italiana—, sino también el síntoma de una época en que las sociedades de América, y algunos de sus dirigentes, empezaban a poner en discusión de forma más o menos central los símbolos que han dominado los espacios urbanos durante décadas. A veces manifestación de impotencia, a veces demagogia, a veces el descubrimiento repentino de una forma de mostrar la historia y de una resistencia que ya estaban allí desde hacía bastante tiempo, pero en los márgenes.

    “Las estatuas hablan siempre de quien las colocó”, escribió en 2020 el autor peruano Marco Avilés, columnista del Washington Post, después de una serie de ataques a monumentos confederados y a figuras de Cristóbal Colón durante las protestas antirracistas en Estados Unidos. En su texto, Avilés cuenta sobre el derribo a martillazos de una escultura del conquistador Diego de Mazariegos en San Cristóbal de las Casas, México, en octubre de 1992. Aquella estatua había sido emplazada 14 años antes frente a la Casa Indígena por orden del alcalde, para celebrar un aniversario de fundación de la ciudad. “Consultar a las personas indígenas o negras no es una costumbre muy extendida entre las élites que ahora gobiernan América Latina, y era peor hace cuatro décadas”, escribe Avilés.

    Bajar o dañar monumentos no es algo nuevo, pero desde finales de 2019, cuando las protestas en Chile marcaron el inicio de una ola de estallidos sociales en todo el continente, dejó de ser un gesto extremo, marginal, y pasó a ser una especie de corriente revisionista febril que recorría la región a martillazos. Y un desafío esperado. En Santiago, la escultura del general Baquedano —militar que participó en las campañas contra los mapuche y es considerado un héroe de la Guerra del Pacífico— se convirtió en ícono de la revuelta ciudadana. Fue pintada y repintada, embanderada, convertida en blanco y en proclama: la más notable de los más de mil monumentos dañados esos meses. En Ciudad de México, la estatua de Cristóbal Colón que estaba en el Paseo de la Reforma —la avenida más importante de la ciudad— fue retirada con rapidez la noche del 10 de octubre de 2020, ante el rumor de que algunos grupos planeaban destruirla el 12 de octubre. Ese mismo año comenzó en Colombia una serie de derribos de estatuas que llegó a su punto máximo durante el Paro Nacional de 2021, cuando bajaron la escultura del conquistador Sebastián de Belalcázar en Cali y siguieron con Gonzalo Jiménez de Quesada en Bogotá —fundador de la ciudad—, Cristóbal Colón, Isabel la Católica y hasta Simón Bolívar.

    Durante los últimos dos años, la pandemia permitió mitigar por momentos el fuego de la protesta social en el continente y ofreció un respiro a los monumentos, pero la crisis sanitaria ha dejado de ocupar un lugar central en la vida pública y los asuntos pendientes vuelven a salir a flote. Este mes, la alcaldía de Cali ha decidido restituir —y resignificar— la estatua de Belalcázar, y Chile ha reinstalado la estatua de Manuel Baquedano, ya restaurada, en el Museo Histórico Militar, aunque no está claro su destino final. Mientras el aumento en el costo de vida vuelve a caldear los ánimos en las calles de la región, y un nuevo 12 de octubre se acerca, la discusión sobre cómo y con qué símbolos se recuerda la historia propia en las ciudades de América sigue abierta.

    México y Argentina: un Colón en el armario

    En 2013, dos años después de la visita de Hugo Chávez a la capital argentina, el Gobierno de Cristina Kirchner finalmente retiró la estatua de Cristóbal Colón de su sitio y la reemplazó por una de Juana Azurduy, heroína de la independencia que luchó contra la monarquía española por la emancipación del Virreinato del Río de la Plata.

    El cambio levantó ampollas en la colectividad italiana en el país. Sus miembros recordaron que habían sido ellos los donantes de la estatua de Colón hacía más de un siglo y exigieron un nuevo emplazamiento a la altura del personaje. El proceso no fue sencillo. Colón estuvo a la intemperie durante más de dos años, repartido en múltiples fragmentos y preso de un arduo debate político. La oposición criticaba lo que consideraba una decisión desafectada de la historia; el Gobierno se escudaba en el revisionismo histórico y en la necesidad de respetar la memoria de los pueblos originarios.

    El Colón de mármol terminó de encontrar un sitio en 2017. El Gobierno levantó un pedestal en la costanera norte del Río de la Plata, entre pescadores, caminantes y puestos de comida que los fines de semana se llenan de gente. La estatua mira desde entonces hacia Europa, como lo hacía antes del traslado, con el rostro atento a las olas y abierto a las tormentas. Un sitio solo apto para marinos.

    Fue también un gobierno progresista el responsable de remover la estatua de Cristóbal Colón instalada en el Paseo de la Reforma de Ciudad de México, pero la medida no fue convertida en un gesto épico, sino en uno de evasión; una forma de evitar un problema: el 10 de octubre de 2020, dos días antes de la conmemoración de la llegada del genovés a América, las autoridades de la ciudad hicieron quitar la escultura de bronce. La versión extraoficial es que lo hicieron para que el Colón no fuera destruido por manifestantes el 12 de octubre. Sin embargo, semanas después, se anunció que la figura estaba resguardada en una bodega donde iban a intervenirla para su conservación, y que después de estos trabajos sería reubicada en otro sitio.

    Estas decisiones abrieron el debate sobre la pertinencia de la estatua en el siglo XXI. Los grupos que protestaban contra Colón aseguraban que se trataba de “un homenaje al colonialismo” y que su relevancia debía ser revisada. Su retiro coincidió con la conmemoración de los 500 años de la caída de Tenochtitlan ante los conquistadores españoles. A diferencia de lo que ocurrió en Argentina, no existieron reclamos a favor de conservar la estatua en la principal avenida de la capital mexicana, pero su destino siguió siendo una incógnita.

    El próximo mes se cumplirán dos años desde que la figura de Colón — que fue instalada en 1875— fuera retirada de las calles. “Se le dará un lugar, no se trata de esconder la escultura”, dijo el año pasado la jefa de Gobierno de la ciudad, Claudia Sheinbaum, sobre su reubicación. La glorieta que Colón ocupaba ahora alberga el Monumento de las Mujeres que Luchan, una improvisada manifestación de diversos grupos feministas que se han apropiado del sitio para protestar contra la violencia machista. El Gobierno tenía planes de instalar otro tipo de escultura, pero los planes permanecen frustrados hasta ahora.
    Chile y Colombia, de las calles a los museos

    En septiembre de 2020 en Popayán, capital del departamento colombiano del Cauca y una de las ciudades más poderosas del virreinato de la Nueva Granada, un grupo de indígenas de la comunidad misak derribó una estatua ecuestre del conquistador español Sebastián de Belalcázar que había sido ubicada en el lugar de un cementerio precolombino, por lo que era vista como una humillación. Lo hicieron tres meses después de que el Movimiento de Autoridades Indígenas del Sur Occidente difundiera un comunicado en el que los llamados Hijos del Agua o descendientes del Cacique Puben escenificaron un “juicio” a Belalcázar.

    Medio año después, cuando el país se sacudía por las protestas sociales en medio de un paro nacional, de nuevo un grupo misak del movimiento de Autoridades Indígenas del Sur Occidente derribó la estatua de Belalcázar en Cali, la tercera ciudad del país, cerca de Popayán. “Tumbamos a Sebastián de Belalcázar en memoria de nuestro cacique Petecuy, quien luchó contra la corona española, para que hoy sus nietos y nietas sigamos luchando para cambiar este sistema de gobierno criminal que no respeta los derechos de la madre tierra”, explicaron entonces. Diez días después, tras llegar a Bogotá, derribaron la estatua del fundador de la ciudad, Gonzalo Jiménez de Quesada. Y, de forma menos debatida y visible, cayeron también un conjunto de estatuas de Cristóbal Colón e Isabel la Católica, y una estatua ecuestre de Simón Bolívar.

    Esos monumentos y acciones han dejado tras sí una estela de reflexiones y unos dilemas de política pública que se han resuelto de manera diferente, como parte de un proceso de discusión del significado de la conquista en un país mayoritariamente mestizo. En Cali, un decreto ordenó reinstalar la estatua con una placa que debe reconocer a “las víctimas de la conquista española”. Bogotá ha optado por llevar las figuras derribadas a los museos, dejando visible los efectos de las caídas, para así dejar abierto el debate.

    Preservar las marcas de guerra en las esculturas parece una forma hábil de conciliar los significados múltiples que adquiere un monumento intervenido o derribado durante una protesta social, pero no es aplicable a cualquier escala. En Chile, en los cuatro meses siguientes a octubre de 2019, 1.353 bienes patrimoniales sufrieron algún tipo de daño a lo largo del país, según un catastro del Consejo de Monumentos Nacionales. Decenas de ellos se perdieron por completo, se retiraron o se reemplazaron.

    La extracción más simbólica debido a su ubicación en el epicentro de las revueltas fue la escultura del General Manuel Baquedano. La obra de bronce erigida hace casi un siglo en la Plaza Italia de Santiago fue removida de su sitio en marzo de 2021 después de que un grupo intentase cortar las patas del caballo sobre el que posa el militar. Tras una exhaustiva labor de restauración, la escultura ha sido reinstalada esta semana en el Museo Histórico y Militar (MHN) por solicitud del Ejército. Las otras seis piezas que conforman el conjunto escultórico, también seriamente dañadas, están almacenadas en el museo a la espera de ser restauradas.

    Atacar esculturas fue una práctica habitual durante las manifestaciones. En la mayoría de los casos fueron rayadas con proclamas, pero en los más extremos llegaron a destruir monumentos, principalmente de figuras de la colonización europea o militares chilenos. En el centro de la ciudad norteña de Arica, por ejemplo, destruyeron un busto de Cristóbal Colón elaborado con mármol, donado por la Sociedad Concordia Itálica en 1910, en el centenario de la independencia chilena. El municipio se encargó de resguardar los pedazos. En La Serena, 400 kilómetros al norte de Santiago, derribaron y quemaron una estatua del conquistador español Fracnisco de Aguirre, que luego fue reemplazada por la de una mujer diaguita amamantando a un bebé.
    Estados Unidos: contra confederados y colonialistas

    Las estatuas que se consideran símbolos del esclavismo y el racismo llevan décadas provocando polémica en Estados Unidos, pero en los últimos años la batalla sobre los símbolos se ha recrudecido. En 2017, la decisión de Charlottesville de retirar la estatua del general confederado Robert E. Lee llevó a movilizarse hasta allí a cientos de neonazis y supremacistas blancos con antorchas, y generó a su vez una contraprotesta de los habitantes de la ciudad. Una mujer de 32 años murió arrollada por el coche de un neonazi. Tras los disturbios, y la respuesta equidistante de Trump, decenas de placas y estatuas en homenaje al general Lee y otros destacados miembros del bando confederado, que defendía la esclavitud en la Guerra Civil, fueron derribadas, dañadas o retiradas. La de Charlottesville fue retirada cuatro años después de la revuelta supremacista.

    Esa llama reivindicativa contra el racismo institucionalizado se reavivó en la primavera de 2020 tras la muerte de George Floyd en Mineápolis a manos de la policía. Una estatua del presidente confederado Jefferson Davis fue derribada en Richmond (Virginia), y también en esa ciudad, que fue capital confederada durante la guerra, fueron atacadas estatuas de los generales J. E. B. Stuart, Stonewall Jackson y el propio Lee. Monumentos confederados en Alabama, Luisiana, Carolina del Norte y Carolina del Sur, entre otros, fueron derribados o pintados también.

    Especialmente en esa última oleada, las protestas han puesto en el punto de mira las estatuas en memoria de quienes consideran artífices del colonialismo. Una manifestación contra el racismo derribó en junio de 2020 en San Francisco una estatua de Fray Junípero Serra, fundador de las primeras misiones de California. También la de Los Ángeles fue derribada por activistas indígenas. Pero el más señalado por esa reivindicación contra el colonialismo fue y sigue siendo Cristóbal Colón, pese a que no pisó Norteamérica. También en junio de 2020, la estatua de Colón en Boston fue decapitada; la de Richmond (Virginia), fue arrancada y arrojada a un lago; la de Saint Paul (capital de Minnesota), fue derribada y la de Miami, llena de pintadas de protesta por parte del movimiento Black Lives Matter.
    Un nuevo sujeto social: los realistas peruanos

    En el Perú, Cristóbal Colón aún conserva su cabeza. No ha sido tumbado por sogas ni ha ido a parar a algún depósito. Pero cada 12 de octubre se discute si su estatua de mármol, inaugurada hace dos siglos, debe permanecer oronda en el Centro de Lima, con una mujer indígena a sus pies.

    Vladimir Velásquez, director del proyecto cultural Lima antigua, sostiene que el descontento ciudadano hacia el navegante genovés se ha manifestado en un ataque simbólico. “La escultura más vandalizada del Centro Histórico es la de Colón. No la han destruido de un combazo, pero en varias ocasiones le han rociado de pintura roja, aludiendo a los charcos de sangre que se desataron en la época colonial”, dice.

    En octubre de 2020, cincuenta activistas enviaron un pedido formal a la Municipalidad de Lima para que la estatua de Cristóbal Colón sea retirada y llevada a un museo. “No estamos a favor que se destruya, pero sí que se le dé una dimensión histórica. Debería construirse un lugar de la memoria sobre el coloniaje”, dice el abogado Abel Aliaga, impulsor de la moción. La respuesta municipal le llegó por correo electrónico el 4 de mayo de este año. Fue breve y contundente: es intocable por ser considerada Patrimonio Cultural de la Nación.

    En octubre del año pasado, sin embargo, sucedió un hecho inédito: al pie del monumento se plantó un grupo de manifestantes, autodenominados realistas, con escudos de madera pintados con el Aspa de Borgoña, símbolo de la monarquía española. El grupo llamado Sociedad Patriotas del Perú, que ha defendido el supuesto fraude a la candidata Keiko Fujimori en las últimas elecciones presidenciales, se enfrentó a los activistas decoloniales. No pasó a mayores, pero hubo tensión. Hay un debate ideológico debajo de la alfombra que amenaza con salir a la luz el próximo 12 de octubre.

    https://elpais.com/internacional/2022-09-25/las-estatuas-mas-incomodas-de-america.html

    #monuments #statue #colonialisme #toponymie #toponymie_politique #Amérique_latine #Christophe_Colomb #Colomb #Mexique #Chili #Manuel_Baquedano #Argentine #Colombie #Popayán #Sebastián_de_Belalcázar #Belalcázar #Cali #Gonzalo_Jiménez_de_Quesada #Simón_Bolívar #Isabelle_la_catholique #Mujeres_Creando #résistance #Arica #USA #Etats-Unis #Charlottesville #Robert_Lee #Jefferson_Davis #Richmond #Stonewall_Jackson #Stuart #Boston #Miami #Black_Lives_Matter (#BLM) #Lima #Pérou

    ping @cede

  • #Mémorial de #Souvorov

    Le mémorial de Souvorov (appelé en allemand #Suworow-Denkmal, également #Russen-Denkmal), est un monument situé dans les #gorges_des_Schöllenen, près du #pont_du_diable, sur le territoire de la commune uranaise d’#Andermatt, en #Suisse.

    Le monument a été dressé en mémoire des #soldats_russes morts au combat lors de leur traversée des Alpes en septembre #1799 sous le commandement du général #Alexandre_Souvorov. Il rappelle en particulier les combats qui se sont déroulés dans la région le 25 septembre 1799 entre les troupes russes et celles commandées par le général napoléonien #Lecourbe.

    Le monument a été érigé en 1895-1898 selon des plans d’A. Werschinsky, avec l’approbation de la Suisse. Le terrain sur lequel il se dresse est la propriété de l’État russe ; cependant, contrairement à une légende urbaine, la parcelle n’est ni une zone extraterritoriale, ni une enclave russe en Suisse.

    Lors de sa visite d’État en Suisse, le président russe Dmitri Medvedev a visité le monument le 22 septembre 2009 en compagnie du président suisse Hans-Rudolf Merz.

    https://fr.wikipedia.org/wiki/M%C3%A9morial_de_Souvorov
    #monument #Suisse #Russie

    –-> on en parle dans cette série historique sur le canton Tessin :
    https://seenthis.net/messages/978229

  • Romania: il monumento della vergogna
    https://www.balcanicaucaso.org/aree/Romania/Romania-il-monumento-della-vergogna-220833

    A Piteşti, sede in passato di un carcere dove venivano torturati i dissidenti politici, è stato eretto un monumento in omaggio ad ex membri della Securitate, la polizia politica del regime di Ceaușescu

    • The monument to the security guards, erected in the city of the terrible #Pitesti_Experiment: “It’s very serious”

      The erection of a monument for former SRI and former Securitate workers caused a major scandal, the monument being erected in Pitesti, where the terrible Pitesti Experiment took place.

      Almost 100 people participated in the unveiling of the monument PHOTO argespress.ro

      The monument, which has the shape of a carved wooden cross, was unveiled on September 14 in the Pitesti Military Cemetery, on the occasion of an action organized by the Argeș branch of the Association of Reserve and Retired Military Cadres from the Romanian Intelligence Service (ACMRR-SRI) . According to the organizers, the monument was erected in memory
      “to the soldiers who worked on the “invisible front”, in the activity of defending Romania’s fundamental values”. Basically, the monument was erected both for the former workers of the SRI and of the former Securitate. And the tribute to the “heroes” of the former Securitate in the very city where the terrible Pitesti Experiment took place sparked a wave of revolt at the national level.

      The Institute for the Investigation of the Crimes of Communism and the Memory of the Romanian Exile (IICMER) requested the removal of the monument from Pitesti.

      “The truth” spoke, related to this controversial monument, with Maria Axinte – the founder of the Pitesti Prison Memorial, with Cristian Gentea – the mayor of Pitesti and with the reserve colonel Dumitru Șovar, president of the Association of Reserve and Retired Military Cadres – SRI Argeș, the organizer of the event.
      The Pitesti experiment, “the most terrible barbarism of the contemporary world”

      Between 1949 and 1951, the Pitesti Experiment took place at the Pitesti prison, considered to be the largest and most intensive program of brainwashing through torture in the communist bloc. Of the thousands of people who went through the Pitesti Experiment, less than ten are still alive today.

      The writer Aleksandr Solzhenitsyn – laureate of the Nobel Prize for literature – believed that the Pitesti experiment was “the most terrible barbarism of the contemporary world”, and the historian François Furet, a member of the French Academy, considered the “Pitesti Phenomenon” “one of the most terrible experiences of dehumanization that our era has known”.

      Twelve young people died in the Pitesti Experiment and several thousand were tortured. Hundreds of former detainees were left with psychological or physical trauma for life.

      11 years ago, some Pitesti residents led by a passionate young woman, Maria Axinte, had the idea of ​​establishing the Pitesti Prison Memorial Foundation. And this foundation has been managing the part of the building that has preserved the appearance of a prison ever since. In order to create a professional visiting circuit, several investments were made here, thanks to the dozens of volunteers who got involved in the project. And in 2014, part of the former Pitesti prison was opened to the public. In the summer of this year, the world’s first Museum of Communism for Children was opened at the Pitesti Prison Memorial.
      “The authorities should apologize to the victims of the communist regime”

      “Although it was a “discreet” event, in the sense that the monument was probably erected for the ego of some “marking personalities” of the local intelligence services, the event in Pitesti once again accuses the sleepy and disrespectful consciences of the state institutions Romanian. Because, unfortunately, the Securitate, contrary to its noble name, dealt with systematic violence and continuous terror during the communist dictatorship. And many still remember it very well. And there are no excuses like “not all were bad”, because this institution had a clear mission, which some fulfilled with zeal, hence the general indignation”Maria Axinte, the founder of the Pitesti Prison Memorial, declared exclusively for “Adevărul”.

      The monument unveiled on Thursday, September 14, at the Pitesti Military Cemetery is less than five kilometers from the former Pitesti prison. The event was attended by almost 100 military reservists of SRI, SIE and the Directorate of Military Intelligence from several counties and representatives of reservist associations of MAPN, MAI

      “Everything is all the more serious as this monument was erected in the city where the Pitesti Experiment took place, right at the former prison that is today, partially, a memorial museum, right in the center of the city. And in which the “unseen” services were capable of such a violent and dehumanizing action against more than 600 anti-communist students that it became unique in the communist world. And let’s not forget the resistance groups and their supporters in the Muscel area, who were terribly tortured at the Pitesti Security and Pitesti Prison in the 1950s. Hundreds of women and men, of all ages and social categories, who decided to do something against the communist dictatorship. The local authorities should publicly apologize to by the victims and survivors of the regime for allowing the monument to be erected and to remove it”adds Maria Axinte.
      “We did not want to offend the sad events that the Pitesti Experiment represented”

      “Adevărul” also requested a point of view from Cristian Gentea, the mayor of Pitesti, related to the erection of the monument, which in just a few days caused numerous controversies and criticisms.

      “I’ve been away on vacation for a week, I’m not in the country. Pitesti City Hall has no involvement in that event. I have no further comments to make”stated for “Adevărul” Cristian Gentea, the mayor of Pitesti.

      “Adevărul” also spoke, related to the controversial monument, with colonel (r) Dumitru Șovar, president of the Association of Reserve and Retired Military Cadres-SRI Argeș, the organizer of the event.

      “I am actually amazed at how this activity was interpreted. I can only say that we did not in any way want to touch or offend in any way those sad events that the Pitesti Experiment represented”says Dumitru Sovar.

      Florin Şandru, the president of ICCMER, demands the removal of the monument, arguing that Securitate was not an intelligence service, but “the armed arm of the party, with which it killed those who opposed communism.”

      “Most of the deaths of the fighters of the invisible front from the State Security Department took place during the confrontations with the real heroes of Romania, the officers, teachers, workers, peasants, priests and students, who resisted communism, imposed in Romania by the Red Army and the Romanian Communist Party”says Florin Şandru.

      Dumitru Șovar denies the fact that the unveiling of the monument is related to former employees of the Security from before 1989. “IICCMER President’s statement is mind boggling. We have nothing to do with those events. We are decades away from that”says Dumitru Sovar.

      https://romania.postsen.com/local/81931/The-monument-to-the-security-guards-erected-in-the-city-of-the-terr

  • Anti-colonialist #sculpture unveiled in London’s #Trafalgar_Square

    Samson Kambalu’s post-colonial sculpture “#Antelope” was unveiled on Wednesday as the new sculpture on the empty Fourth Plinth of London’s Trafalgar Square.

    The bronze resin sculpture features Baptist preacher and educator #John_Chilembwe, who led an uprising in 1915 against British colonial rule in #Nyasaland — now #Malawi.

    He was later killed by colonial police and is commemorated in Malawi on John Chilembwe Day, which marks the beginning of the Malawi independence struggle.

    The sculpture is the latest in a rolling programme overseen by the mayor of London that began in 1998 to showcase contemporary art on the empty plinth.

    Previous installations have included a giant ship in a bottle and a swirl of replica whipped cream, topped with a sculpted cherry, fly and drone.

    At Chilembwe’s side in Kambalu’s sculpture is his friend and supporter, the European missionary John Chorley.

    The artist said it was designed to shed light on Britain’s colonial legacy in southern Africa.

    “People present colonialism as a kind of conqueror and victim (story),” Kambalu told AFP at the unveiling.

    “But actually, it’s more complex than that. There are heroes on both sides. There is dignity on both sides.”

    Chorley is life-sized, while Chilembwe is “larger than life” — elevating the pastor’s story and Britain’s colonial past into the public eye.

    “There’s a lot to be addressed,” said Kambalu.

    Kambalu said that by highlighting what he said was Britain’s failure to address its colonial legacy in southern Africa, such as Malawi, he hoped his work would shed light on this “hidden history”.

    Both figures in the sculpture wear hats — a banal feature at a first glance but evoking the colonial prohibition which barred African men from wearing hats in front of a white person.

    “Antelope” is the 14th commission in the programme.

    “It sparks conversation with the general public. Everyone loves to have an opinion about the Fourth Plinth. It generates debate,” said Justine Simons, deputy mayor for culture and the creative industries.

    The sculpture will be succeeded in 2024 by Teresa Margolles’ “850 Improntas” (850 Imprints), which features casts of the faces of 850 transgender people from around the world.

    Recent calls by MPs and others have urged the Mayor of London to feature a statue of the late Queen Elizabeth II on the Fourth Plinth.

    “That will be a decision for His Majesty the King, at the appropriate moment,” said Simons.

    "It’s a programme that’s been going for 20 years, and we’ve got at least another four years of sculptures already commissioned.”

    https://www.rfi.fr/en/people-and-entertainment/20220928-anti-colonialist-sculpture-unveiled-in-london-s-trafalgar-square
    #monument #Londres #colonialisme #anti-colonialisme #UK #Angleterre #Samson_Kambalu #histoire #historicisation #mémoire #passé_colonial #villes

    ping @cede @reka

  • Village’s Tribute Reignites a Debate About Italy’s Fascist Past

    This village in the rolling hills east of Rome is known for its fresh air, olive oil and wine — and its residual appreciation of Benito Mussolini, whose image adorns some wine bottles on prominent display in local bars.

    This month, the town’s fascist sympathies became the subject of intense debate when its mayor unveiled a publicly financed memorial to one of its most controversial former citizens: Rodolfo Graziani, a general under Mussolini who was accused of war crimes at the end of World War II and earned the title of “the Butcher” in two campaigns during Italy’s colonization of North Africa in the 1920s and ’30s.

    The monument, in a style reminiscent of fascist architecture, sits on the town’s highest hill, with the Italian flag flying from the top and inscriptions reading “Honor” and “Homeland.” Inside sits an austere marble bust of General Graziani, surrounded by original copies of the front pages of the newspapers from the day of his death in 1955, a plaque from a street once dedicated to him here and a list of his deeds and honors.

    The dedication elicited harsh criticism from left-wing politicians and commentators in the pages of some Italian newspapers, and has raised deeper questions about whether Italy, which began the war on the side of the Axis powers and ended it with the Allies, has ever fully come to terms with its wartime past.

    In an interview, Ettore Viri, the mayor of Affile, brushed off the criticism. “The head is a donation of a citizen,” he said, glancing proudly at the bust, before quickly acknowledging that he was the citizen. “Actually, I had it in my living room,” he said, adding that he had given large donations of his own money to maintain Mussolini’s grave in northern Italy.

    Yet the mayor’s political opponents are aghast at the town’s honoring General Graziani — and using $160,000 in public money to do so. In a statement released the day before the dedication ceremony, Esterino Montino, a regional leader of the Democratic Party, said, referring to the Nazi leader Hermann Goering: “It’s as if some little village in some German province built a monument to Goering. The fact that such a scandal is planned in a small village outside of Rome does not downgrade the episode to provincial folklore.”

    By and large, however, the memorial appears to have won acceptance in this mostly conservative town of 1,600. More than 100 people attended the dedication, some of them holding flags of far-right extremist groups and wearing black shirts in a nod to Mussolini’s Blackshirt squads, according to several people who attended.

    For some, General Graziani’s crimes from World War II pale in comparison to what he did in Africa earlier, killing hundreds of thousands of people — sometimes with chemical weapons — and wiping out entire communities, especially in Eritrea.

    In the 1930s, General Graziani commanded some of the Italian troops who invaded Ethiopia under the reported slogan “ ‘Il Duce’ will have Ethiopia, with or without the Ethiopians.” He later became the viceroy of Ethiopia, where he earned his second title as butcher — the first came in Libya — for a particularly brutal campaign in reprisal for an attempt on his life.

    After the fall of Mussolini’s government in 1943, General Graziani remained loyal to him and became the minister of war of the Italian Social Republic, a rump government led by Mussolini in the parts of Italy not controlled by the Allies. General Graziani was never prosecuted for any war crimes in Africa, but in 1948 the United Nations War Crimes Commission said there were plausible charges against him and other Italians.

    In 1948, an Italian court in Rome sentenced General Graziani to 19 years in prison for collaborating with the Nazis, but he received a suspended sentence that was later commuted.

    But it was the African campaigns, which went entirely unpunished, that critics say are the greatest stain on his record, and the strongest argument against a memorial. “A monument to somebody who committed crimes against humanity in his fierce repression using gas against young Ethiopians is serious and unacceptable, regardless of where it happens,” Mr. Montino, the left-wing lawmaker, wrote.

    Here in Affile, many regard General Graziani more as a local boy who made good than the perpetrator of some of the most heinous massacres in Mussolini’s bloody colonization campaigns.

    “To me it’s a recognition of our fellow citizen who was the youngest colonel of the Italian Army,” said Alberto Viri, a 65-year-old retiree who lives in Milan but was vacationing on a recent afternoon in his native Affile. “He defended the homeland until the end, as he was loyal to our first allies, the Germans, even after Sept. 8,” Mr. Viri added, referring to the armistice when Italy shifted from the Axis to the Allies.

    Some are more upset by the financing than by the monument itself. “I am not a fascist,” said Aldo Graziani, 72, a retiree (no relation) who joined in the conversation in a local bar. “I am not bothered by the monument to Graziani, per se. I am rather bothered by the fact that they should have built it with their own money, not with public money.”

    Mr. Viri, the retiree, has childhood memories of General Graziani riding around the village on his white horse with a white dog to get the paper at the Viri family’s news kiosk. He remembers how soldiers attending the general’s funeral in 1955 distributed food to hungry local children.

    Some scholars say that Italy’s failure to bring fascist officials to justice has caused a “selective memory” of the fascist era, where visions of the past fall along contemporary political lines.

    “Antifascist culture has remained the privilege of the left, some liberals and Christian Democrats,” said Luca Alessandrini, the director of the Parri Institute in Bologna, referring to the centrist Catholic party that dominated in the postwar era. “The big weakness of Italian history is that these forces have failed to produce an historical judgment on fascism,” he added.

    Much the same is true of the colonial era. Compared with Britain and France, Italy developed colonial aspirations rather late in the game, invading Libya in 1911 and Ethiopia, for the second time, in 1935. (The first Ethiopian invasion, in 1895, failed.) Even today, few Italians are particularly aware of the colonial episodes, which have not been central to national debate.

    “Italy was so poor and destroyed after World War II that nobody really worried about the colonies, and the loss thereof, let alone people’s education on this,” said the historian Giorgio Rochat.

    In Affile, many deny that General Graziani was a fascist tyrant, arguing that he just obeyed his superiors’ orders. But some are outraged by the monument.

    “This has always been a center-right village,” said Donatella Meschini, 52, a teacher who served on the City Council from 2003 to 2008 under the only center-left mayor in Affile in 50 years. “But after this memorial, what can we expect? That they call us up on Saturday to do gymnastics in the main square like the fascist youth used to do?”

    “April 25 has just never arrived here,” Ms. Meschini added, referring to the day of the Allied liberation of Italy in 1945.

    https://www.nytimes.com/2012/08/29/world/europe/village-reignites-debate-over-italys-fascist-past.html

    #Affile #mémoire #fascisme #histoire #Italie #Mussolini #Benito_Mussolini #Rodolfo_Graziani #Graziani #mémorial #colonisation #passé_colonial #Italie_coloniale #colonisation #monument #patria #onore #Ettore_Viri

    –—

    ajouté à la métaliste sur la #colonialisme_italien :
    https://seenthis.net/messages/871953

    ping @cede @olivier_aubert

    • Flash mob dell’ANPI ad Affile, Pagliarulo: «Il monumento al boia Rodolfo Graziani è un’ ignominia!»

      In occasione dell’84esimo anniversario della strage di Debra Libanos (Etiopia) ordita dal criminale di guerra Rodolfo Graziani. L’intervento del Presidente nazionale ANPI Gianfranco Pagliarulo

      Oggi 28 maggio alle 18 si è svolto ad Affile (Roma) un flash mob promosso dall’ANPI - con la presenza del Presidente nazionale Gianfranco Pagliarulo e del Presidente dell’ANPI provinciale di Roma Fabrizio De Sanctis - in occasione dell’84esimo anniversario della strage di Debra Libanos (Etiopia).

      Dal 21 al 29 maggio 1937 nel monastero di Debra Libanos furono trucidati monaci, diaconi, pellegrini ortodossi, più di 2.000, per opera degli uomini del generale Pietro Maletti, dietro ordine di Rodolfo Graziani, viceré d’Etiopia. Ad Affile è situato un monumento dedicato proprio a Graziani.

      In un passaggio del suo intervento così si è espresso Pagliarulo: «Siamo qui per denunciare una grande ignominia: un monumento intitolato non al soldato affilano più rappresentativo, come incautamente affermato, ma all’uomo delle carneficine, delle impiccagioni, dei gas letali. Perché questo fu Rodolfo Graziani. E le due parole sulla pietra del monumento, Patria e Onore, suonano come il più grande oltraggio alla Patria e all’Onore. Onore è parola che significa dignità morale e sociale. Quale onore in un uomo che sottomette un altro popolo in un’orgia di sangue? Patria. La nostra patria è l’Italia. La parola Italia è nominata nella Costituzione due sole volte: L’Italia è una repubblica fondata sul lavoro, L’Italia ripudia la guerra. Tutto il contrario di un Paese fondato sul razzismo imperiale. Perché, vedete, le stragi di Graziani furono certo l’operato di un criminale di guerra, e non fu certo l’unico. Ma furono anche stragi dello Stato fascista, di una macchina di violenza e di costrizione verso l’altro».

      Era presenta anche una delegazione dell’Associazione della Comunità etiopica di Roma.

      https://www.anpi.it/articoli/2504/flash-mob-dellanpi-ad-affile-pagliarulo-il-monumento-al-boia-rodolfo-graziani-e
      #résistance #flash_mob

    • Nicola Zingaretti: no al monumento per ricordare un criminale di guerra fascista, stragista del colonialismo. #25aprile

      Caro Presidente Nicola Zingaretti,

      mi chiamo Igiaba Scego, sono una scrittrice, figlia di somali e nata in Italia. Sono una della cosiddetta seconda generazione. Una donna che si sente orgogliosamente somala, italiana, romana e mogadisciana.

      Le scrivo perchè l’11 Agosto 2012 ad Affile, un piccolo comune in provincia di Roma, è stato inaugurato un “sacrario” militare al gerarca fascista Rodolfo Graziani. Il monumento è stato costruito con un finanziamento di 130mila euro erogati della Regione Lazio ed originariamente diretti ad un fondo per il completamento del parco di Radimonte.

      Rodolfo Graziani, come sa, fu tra i più feroci gerarchi che il fascismo abbia mai avuto. Si macchiò di crimini di guerra inenarrabili in Cirenaica ed Etiopia; basta ricordare la strage di diaconi di Debra Libanos e l’uso indiscriminato durante la guerra coloniale del ’36 di gas proibiti dalle convenzioni internazionali.

      Dopo la fine del secondo conflitto mondiale, l’imperatore d’Etiopia Hailè Selassié, chiese a gran voce che Rodolfo Graziani fosse inserito nella lista dei criminali di guerra. La Commissione delle Nazioni Unite per i crimini di guerra lo collocò naturalmente al primo posto.

      Il monumento a Rodolfo Graziani è quindi un paradosso tragico, una macchia per la nostra democrazia, un’offesa per la nostra Costituzione nata dalla lotta antifascista.

      In questi ultimi giorni, i neoparlamentari Kyenge, Ghizzoni e Beni hanno depositato un’interpellanza affinché il Governo si pronunci sulla questione di Affile.

      Io in qualche modo legandomi alla loro iniziativa chiedo a lei, Presidente Zingaretti un impegno concreto contro questo monumento della vergogna. Non solo parole, ma fatti (demolizione e/o riconversione del monumento) che possano far risplendere un sole di democrazia in questa Italia che si sta avviando a celebrare il 68° anniversario del 25 Aprile.

      Mio nonno è stato interprete di Rodolfo Graziani negli anni ’30. Ha dovuto tradurre quei crimini e io da nipote non ho mai vissuto bene questa eredità. Mio nonno era suddito coloniale, subalterno, costretto a tradurre, suo malgrado, l’orrore. Oggi nel 2013 io, sua nipote, ho un altro destino per fortuna. Per me e per tutt* le chiedo un impegno serio su questa questione cruciale di democrazia.

      _____________________________________________________________

      Dear President Nicola Zingaretti,

      My name is Igiaba Scego, I am a writer, born in Italy, daughter of Somali people.

      I am one of the so-called «second generation». A woman who proudly feel herself both Somali, Italian, Roman.

      I am writing to you because on the 11th of August 2012, in Affile, a small town in the province of Rome, it was inaugurated a monument in honour of the fascist Rodolfo Graziani. The monument was built with a loan of 130 thousand euro from the Lazio region, a fund originally intended to finance the Radimonte park.

      Rodolfo Graziani, as you know, was one of the most ferocious commander that fascism has ever had. He was found guilty of war crimes in Cyrenaica and Ethiopia; the massacre of deacons in Debra Libanos and the use of prohibited gas during the colonial war of ’36 are just two of those massacres that can be mentioned.

      After the end of World War II, the emperor of Ethiopia, Haile Selassie, firmly asked for Rodolfo Graziani to be included in the list of war criminals. The Commission of the United Nations War Crimes placed him at the first place in that list.

      The monument to Rodolfo Graziani is therefore a tragic paradox, a stain on our democracy, an insult to our constitution born from the struggle against fascism.

      In the recent days, the neoparlamentari Kyenge, Ghizzoni and Beni filed an interpellation to address this problem to the Government.

      I am somehow trying to be with them, by asking to you, Mr President Zingaretti, a real commitment against this monument of shame. I am not only asking for words but for a real commitment (demolition and / or conversion of the monument) that can let the sun of democracy to shine again in Italy, approaching the 68th anniversary of the April 25.

      My grandfather had to translate Graziani’s crimes, he was a colonial victim, and had to translate the horror, against his will. Today in 2013, his niece, has another destiny. For me and for all I am asking to you a serious commitment on this crucial issue of democracy.

      https://www.change.org/p/nicola-zingaretti-no-al-monumento-per-ricordare-un-criminale-di-guerra-fasci

      #pétition

  • De la #violence_coloniale dans l’#espace_public. Visite du triangle de la #Porte_Dorée à #Paris.

    Ce #guide décolonial nous emmène du côté de la Porte Dorée, à Paris, visiter un « #triangle_colonial » composé de trois #monuments qui offrent un condensé de l’#histoire_coloniale, culturelle, économique, raciale et politique de la France.

    Ce triangle comprend le bâtiment du #Musée_national_de_l’histoire_de_l’immigration, ex-Musée des Colonies inauguré à l’occasion de l’Exposition coloniale de 1931, dont l’immense bas-relief met en scène, « l’air de rien », l’économie extractiviste basée sur l’esclavage et le travail forcé dans les colonies. Face au musée, le deuxième sommet du triangle est le monument à la #mission_Marchand qui, depuis les années 1970, fait régulièrement l’objet d’actions anti-colonialistes allant du tag au plastiquage. Le dernier sommet révèle quant à lui « La France apportant la paix et la prospérité aux colonies » sous les traits de la #déesse_Athéna.

    S’inspirant des bases d’une #pédagogie_critique explorée par les universités de Décoloniser Les Arts (DLA), cet ouvrage revient sur les débats et les luttes menées à travers le monde autour de #statues, célébrant esclavagistes et colonialistes, « au pied desquelles le pouvoir dépose des gerbes de fleurs. »

    Accompagné d’une riche sélection d’images d’archives et ponctué par les interventions visuelles de l’artiste Seumboy Vrainom :€, Françoise Vergès nous livre ici un texte incisif qui propose une nouvelle manière d’aborder la ville.

    https://shed-publishing.com/De-la-violence-coloniale-dans-l-espace-public

    #décolonial #colonisation #colonialisme #urban_matter
    #TRUST #master_TRUST #livre #violence

    ping @cede @isskein @olivier_aubert @_kg_ @karine4

    • La stèle éthiopienne de Rome. Objet d’un conflit de mémoires

      En mars 1937, un an après la conquête de l’Éthiopie par l’Italie, les forces d’occupation fascistes décidaient de prendre comme trophée de guerre une des stèles géantes d’Axoum, le plus haut lieu de l’Éthiopie antique. Ce monument haut de 24 mètres fut installé à Rome, parmi les obélisques témoignant de la grandeur de l’Empire romain, avec laquelle le régime de Mussolini voulait renouer. Après-guerre, le traité de paix signé par l’Italie prévoyait au chapitre des réparations de guerre que les pièces du patrimoine éthiopien qui avaient été pillées fussent rendues. Jusqu’à aujourd’hui la stèle a fait l’objet d’un contentieux entre les deux pays. Le processus de restitution n’a véritablement pris forme que depuis quelques années, sous la pression d’intellectuels ayant donné un puissant écho médiatique à cette revendication dans le sentiment national éthiopien. Après quelques tergiversations, la stèle éthiopienne de Rome a récemment été démontée, et attend encore que les problèmes de transport soient résolus avant de pouvoir retrouver son site d’origine. Pour examiner ce cas de restitution et discuter des limites de son extrapolation dans la jurisprudence sur les biens culturels illégalement acquis, cet article s’applique à situer ce monument dans une histoire longue des usages politiques du patrimoine archéologique et des références à l’Antiquité qui structurent fortement les mémoires nationales, tant en Italie qu’en Éthiopie.

      https://journals.openedition.org/etudesafricaines/4648
      #stèle_d'Axoum #stele_di_Axum

      signalé par @olivier_aubert —> j’ajoute à ce fil de discussion plutôt qu’à la métaliste (je vais donc effacer de la métaliste, Olivier, pour une question d’organisation des informations)

  • Monuments of enslaved people in the threes in Charlotte, North Carolina

    To pay tribute to all the enslaved people buried in cemeteries with no name, artist Craig Walsh put a face in the trees to honor their souls in an installation in Charlotte, North Carolina, called “Monuments”

    by @Rainmaker1973

    Craig Walsh’s Monuments | Charlotte SHOUT!

    Challenging traditional expectations of public monuments and the selective history represented in our public spaces. Built for the great outdoors, Monuments celebrates selected individuals through large-scale, nighttime projected portraits onto live trees in public spaces for stunning effect. Monuments represents a haunting synergy between the human form, nature, and the act of viewing. Enormous night-time projections transform trees into sculptural monuments.

    https://www.charlotteshout.com/events/detail/craig-walshs-monuments

    #monument #esclavage #Charlotte #CarolineduNord #art #sculpture

  • Ce que Napoléon a fait aux villes françaises
    https://metropolitiques.eu/Ce-que-Napoleon-a-fait-aux-villes-francaises.html

    Qu’est-il arrivé aux villes françaises sous Napoléon ? Au-delà de ses réalisations architecturales et de ses aménagements urbains, le régime impérial a laissé sa marque dans les institutions et les principes qui ont permis leur mise en œuvre. Le bicentenaire de « l’épisode napoléonien » a produit une nouvelle flambée éditoriale sur une période pourtant déjà abondamment traitée par l’historiographie sous toutes ses formes depuis deux siècles. Pourtant, la construction, l’architecture, l’urbanisme et l’habitat #Commentaires

    / #pouvoir, #histoire, #architecture, #urbanisme, #histoire_urbaine, #XIXe_siècle, #monument, (...)

    #embellissement
    https://metropolitiques.eu/IMG/pdf/met_reverchon.pdf

  • George Floyd murder: A year on, did the protests it inspired in Europe change anything? | Euronews
    https://www.euronews.com/my-europe/2021/05/24/george-floyd-murder-a-year-on-did-the-protests-it-inspired-in-europe-chang

    In short yes some things did change but too little:
    – “the European Parliament passed a resolution on the George Floyd protests, tackling structural racism and police brutality in Europe”.
    – “there is a “major data gap” across the continent when it comes to recording police violence against minority groups.”
    – “appointment of the EU’s first anti-racism coordinator - Michaela Moua”
    – “The protests put anti-racism and racial justice on the policy agenda, where policymakers could no longer ignore the issue”

    Black Lives Matter protests erupted across Europe after the murder of George Floyd - Copyright Markus Schreiber/AP

    One year ago on Tuesday (May 25th), George Floyd was murdered by a police officer in the city of Minneapolis in the US.

    The city was subsequently rocked by huge racial justice protests, which spread first across the US, and then further afield, with massive demonstrations taking place in many major European cities.

    These protests didn’t just centre on police brutality. As the Black Lives Matter movement gained recognition in Europe, the issues of systemic discrimination and even Europe’s colonial past started to be raised .

    A year on since the murder that sparked a summer of protest, how much has actually changed in Europe?
    Police brutality ‘a problem in Europe too’

    “Where there have been promising changes, we’re still in the implementation stage, but the impact hasn’t yet been felt on the ground,” says Ojeaku Nwabuzo, a senior research officer at the European Network Against Racism.

    She tells Euronews the Black Lives Matter uprising “was the spark of a lot of development and discussion in Europe around police violence,” but concrete changes are yet to be seen.

    Nwabuzo is in the midst of researching police brutality in Europe between the years 2015 and 2020, and points out there is a “major data gap” across the continent when it comes to recording police violence against minority groups.

    “What we do know is there is a problem with police and law enforcement disproportionately brutalising, profiling and surveilling racialised groups,” she says.

    But many of the demands organisations like hers have been working on for years - “such as looking at structural, systemic forms of racism” - were quickly listened to and acted upon following the outbreak of protests, she says, “specifically in the EU”.
    EU ‘action plan’ on racism

    In June last year, the European Parliament passed a resolution on the George Floyd protests, tackling structural racism and police brutality in Europe.

    This was quickly followed up by a Commission anti-racism action plan - drawing some praise from campaigners.

    “This is a direct response to the Black Lives Matter movement,” says Nwabuzo. “The way in which these plans were developed, the language used, acknowledging structural and systemic racism in a way we have not seen the Commission do before.”

    Evin Incir MEP, a co-president of the European Parliament’s Anti-Racism and Diversity Intergroup, tells Euronews the action plan was “an important sign the Commission immediately took this situation seriously”.

    She says the protests put pressure on politicians “even we thought might not vote for such wording that the resolution contained,” and says the recent appointment of the EU’s first anti-racism coordinator - Michaela Moua - is “very important”.

    EU needs ’holistic approach’ if they want to tackle racial discrimination
    Analysis: Is Europe any better than the US when it comes to racism?

    Moua’s role is to coordinate the implementation of the action plan, which Incir says hasn’t yet borne fruit in people’s everyday lives.

    The action plan contains proposals for improving law enforcement policies, security from extremists, and greater equality in areas such as employment, health and housing - but additional legislation to fill any gaps won’t be until 2022.

    ENAR’s Nwabuzo says the protests in Europe were “really significant” in forcing concrete action on a legislative level.

    “The protests put anti-racism and racial justice on the policy agenda, where policymakers could no longer ignore the issue,” she says.

    “It’s important we continue making our voices loud on the matter, that we don’t stop,” Incir says.

    “Some part of the knowledge has reached the legislators, but also the people need to continue rising up for anti-racism because otherwise, unfortunately, there are some legislators who have a very short memory.”
    Colonial commemorations

    The protests also forced some European countries into a reckoning with their colonial pasts.

    Demonstrators targeted statues in public places commemorating figures linked to colonial violence and the slave trade.

    In Bristol in the UK, a crowd tore down the statue of Edward Colston - a wealthy ‘philanthropist’ who made the bulk of his fortune in the slave trade - and threw it in the river.

    Similar acts occurred in Belgium, where many statues of King Leopold II - notorious for his rule over the Congo Free State - adorn the streets.

    Daphné Budasz, a PhD researcher at the European University Institute, says the debate over statues existed long before the protests in 2020, especially in countries such as the UK and Belgium.

    But it did widen the debate, opening up similar conversations in countries that until then hadn’t paid it much attention.

    “Living in Switzerland, Swiss people don’t usually consider they have a link to colonial history, but even here last year we had a debate about a statue in Neuchâtel, a guy called David de Pury, who made his fortune from the slave trade,” she tells Euronews.

    “This was a non-existent debate, and suddenly because of Black Lives Matter it became visible even here.”

    However, the momentum around this issue appears to have stalled. Just last week in the UK, the long-running campaign to have a statue of colonialist Cecil Rhodes removed from a college at the University of Oxford saw defeat once again.

    Oxford University to keep Cecil Rhodes statue despite recommendation to remove it

    Despite Oriel College claiming it agreed the statue — at the centre of a years’ long #RhodesMustFall campaign — should be removed, it said high costs and complex heritage planning rules meant it won’t be taken down.

    It said instead it will work on the “contextualisation” of the college’s relationship with Rhodes.

    “I have the impression there’s no real political willingness to properly discuss this question,” says Budasz, who points to French President Emmanuel Macron’s response to calls for statues to come down.

    “The Republic will not erase any trace or name from its history,” he said in a television address last year.

    “It will not forget any of its works, it will not remove any of its statues.”

    “What they’re suggesting is that the people asking for removal are the reactionary ones, the ones who want to change history,” says Budasz.

    “We don’t want to change history. The debate is too polarised and there’s a kind of refusal to understand the symbolic element in monuments and the meaning in commemoration,” she adds.

    Her view is that the debate over statues was perhaps more of “a buzz”, which did reach a wider audience at the time, but now those still fighting for [the] removal of colonial relics are in the minority again.

    “We still use history as a tool to build or reinforce national identities, when history should be a critical tool to understand today’s society,” she argues, pointing out monuments are for the purpose of commemoration.

    “A statue is not an historical artefact, it’s not an archive, it’s a narrative of history. It’s been put there on purpose.”

    Every weekday, Uncovering Europe brings you a European story that goes beyond the headlines. Download the Euronews app to get a daily alert for this and other breaking news notifications. It’s available on Apple and Android devices.

    #BLM #Contestedmonuments #police #police_violence #violence_policière #eslavage #statue #monument

  • Decolonize this Place (DTP)- New York
    https://decolonizethisplace.org/faxxx-1

    Decolonize This Place is an action-oriented movement and decolonial formation in New York City and beyond.

    Decolonize this Place (DTP) is an action-oriented movement and decolonial formation in New York City. Facilitated by MTL+, DTP consists of over 30 collaborators, consisting of grassroots groups and art collectives that seek to resist, unsettle, and reclaim the city. The organizing and action bring together many strands of analysis and traditions of resistance: Indigenous insurgence, Black liberation, free Palestine, free Puerto Rico, the struggles of workers and debtors, de-gentrification, migrant justice, dismantling patriarchy, and more. In some cases, we have used cultural institutions as platforms and amplifiers for movement demands, but we do not understand the transformation of these institutions as an end in and of itself. We aim to cultivate a politics of autonomy, solidarity, and mutual aid within a long-term, multi-generational horizon of decolonial, anti-capitalist, and feminist liberation that is animated by Grace Lee Boggs’ question: “What time is it on the clock of the world?” For us, decolonization necessitates abolition. But what does abolition demand? Not only does it demand the abolition of prisons and police, bosses and borders, but as Fred Moten and Stefano Harney write, it’s “the abolition of a society that could have prisons, that could have slavery, that could have the wage, and therefore not abolition as the elimination of anything but abolition as the founding of a new society.”

    #abolition #New_York #decolonisation #Décoloniser #musée #contestedmonuments #monument

  • "Friends no longer, Ukraine removes Russian statues and street names

    The Guardian, Thu 28 Apr 2022
    https://www.theguardian.com/world/2022/apr/28/friends-no-longer-ukraine-removes-russian-statues-and-street-names
    Lorenzo Tondo and Isobel Koshiw in Kyiv

    https://i.guim.co.uk/img/media/b943ced71bdf9e9b763415100afef017b85a7995/0_185_6720_4032/master/6720.jpg?width=620&quality=45&auto=format&fit=max&dpr=2&s=c2f023bbe029f4b7
    The head of a Russian worker, accidentally decapitated while the monument to friendship was pulled down in Kyiv on Tuesday. Photograph: Alessio Mamo/The Guardia n

    At 5.36 pm on Tuesday in the historic Kyiv district of Pecherskyi, an imposing Soviet-era bronze monument symbolising the friendship between Russia and Ukraine was accidentally decapitated and then deliberately dismantled to the applause of hundreds of people.

    As local officials explained, when one country invades and bombs another, killing its people, their friendship is over.

    The 40-year-old statue, depicting a Ukrainian and a Russian worker on a plinth, was pulled down on the order of local authorities in Kyiv. It is one of the first steps of a plan to demolish about 60 monuments and to rename dozens of streets associated with the Soviet Union, Russia and Russian figures, including the writers Tolstoy, Dostoevsky and Pushkin, as a result of the war between the two countries.

    Serhii Myrhorodskyi, 86, an architect from Kyiv, watched excitedly as the head of the Russian worker accidentally broke off from its body and tumbled to the ground during the removal. He did not appear bothered, despite the fact it was he who had designed the monument, erected in 1982 as a gift from the Soviet regime to the Ukrainian government.

    “It is the right thing to do,” he told the Guardian. “There is no friendship with Russia and there will not be any friendship for a long time while Putin and his gang are in this world. After they drop dead, maybe in 30 years, something will change.

    https://i.guim.co.uk/img/media/4366bbcd773dbe1e4088bac487e5e4ddef7e7d68/0_352_6720_4032/master/6720.jpg?width=620&quality=45&auto=format&fit=max&dpr=2&s=22ef27d033e70720
    The dismantling of the Soviet-era bronze monument
    A woman cheers as the Soviet-era monument in Kyiv symbolising the former friendship between Russia and Ukraine is dismantled. Photograph: Alessio Mamo/The Guardian

    “The presence of the monument that represents a friendship with Russia is a sin. Removing it is the only right decision. And we could use that bronze of which the monument is made. We could melt it down and sculpt a new monument dedicated to Ukraine the motherland, which would symbolise the unity of all Ukrainian lands.”

    “As for my emotions,” he added, “I am just happy to see that people are glad this whole thing is being taken away.”

    As the monument began to fall, the crowd chanted: “Glory to Ukraine, glory to the heroes, glory to the nation of Ukraine.”

    The mayor of Kyiv, Vitali Klitschko, who presided over the dismantling, said the removal of Russian symbols from the city was now under way. “You don’t kill your brother. You don’t rape your sister. You don’t destroy your friend’s country. That’s why, today, we have dismantled this monument, once created as a sign of friendship between Ukraine and Russia,” he said.

    Other cities in Ukraine have in recent days begun to rename streets associated with Russian figures or to dismantle monuments related to the Soviet Union.

    Memorial plaques for Soviet cities replaced with the names of Ukrainian cities
    https://i.guim.co.uk/img/media/6425d68f27a2373c04d056471e66dafcdd359eec/0_399_6720_4032/master/6720.jpg?width=620&quality=45&auto=format&fit=max&dpr=2&s=390ab3b0aa45bc86 plaques for Soviet ‘hero cities’ that resisted the Nazis have been replaced with the names of Ukrainian cities under Russian occupation or attack. Photograph: Alessio Mamo/The Guardian

    The city of Ternopil, in western Ukraine, has renamed a street dedicated to the Soviet cosmonaut Yuri Gagarin, the first man in space, and removed a Soviet tank and aircraft. The aircraft is to be replaced with a “heroes of Ukraine” monument.

    Fontanka, a village near Odesa, decided to turn a street dedicated to the poet Vladimir Mayakovsky into Boris Johnson Street, after the UK promised to send a £100m weapons package to Ukraine.
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    And the mayor of Dnipro, Borys Filatov, said streets named after Russian towns would be rededicated to Ukrainian cities and symbols: Abkhazia Street became Irpin, while the street of the 30th Irkutsk Division is now called Ukrainian Soldiers.

    Officials in Kyiv are to approve a law to rename 60 streets, meaning Russian writers and Ukrainians who wrote in Russian – or even assumed a Russian identity – are among those who may be written out of public life in the city. A metro station named after Tolstoy is on the list.

    The entrance to Leo Tolstoy Square metro station in central Kyiv
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    The entrance to Leo Tolstoy Square metro station in central Kyiv. Photograph: Alessio Mamo/The Guardian

    “The war changed everything and things have accelerated the times,” Alina Mykhailova, one of the two Kyiv city deputies who put forward the law, wrote on Facebook. “Finally, there is an understanding that [our] colonial heritage must be destroyed.”
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    Mykhailova and her colleague Ksenia Semenova campaigned for the removal of the People’s Friendship monument that was dismantled on Tuesday. There had been plans to remove the statue under Ukraine’s decommunisation laws passed in 2015, but at the time they received pushback from other members of the Kyiv city council, Mykhailova wrote.

    The Ukrainian language and Ukrainian national identity were suppressed by tsarist Russia and its Soviet successor. Russian was considered the language of high culture and official business, and many Ukrainians, particularly peasants who moved to the big cities after the second world war, adopted Russian to distance themselves from their rural origins.

    Perhaps more controversially, the de-Russification list includes Ukrainian-born writers such as Mikhail – or Mykhailo, in Ukrainian – Bulgakov, who was born in Ukraine, wrote about Kyiv, but had derogatory views about the Ukrainian language and Ukrainian national identity. His statue sits next to his former house on one of Kyiv’s most famous streets, which is now the Bulgakov Museum and is popular with tourists.

    “Only idiots could do this because Leo Tolstoy is a world-famous writer, not just Russian or Ukrainian,” said Ihor Serhiivych, a Kyiv resident, inside Leo Tolstoy Square metro station.

    “There are lots of [ethnic] Russians who live in Kyiv and they are probably doing more right now to protect Ukraine than those western Ukrainians who think of themselves as the elite,” Serhiivych said. He said there was a gulf in understanding between those Ukrainians who lived for a significant period under Soviet and tsarist rule and those in western Ukraine who did not.

    “If it was a Putin statue I would understand, but you have to differentiate between enemies and world-famous literature.”
    A Soviet monument to the tank divisions that fought against Nazi Germany is adorned with a Ukrainian flag
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    A Soviet monument to the tank divisions that fought against Nazi Germany is adorned with a Ukrainian flag. Photograph: Alessio Mamo/The Guardian

    Another person at the station, Valetyna Hryhoryvycha, said: “I think people need to think about it a bit more. I don’t see how they relate to what’s happening now. It is part of our history.”

    Ivan Andreiev, who works near Bulgakov Museum, said: “I’m for the removal of the friendship monument because there can’t be friendship between enemies. But I think it’s a fake that they’re planning on taking down Bulgakov’s monument. What Russian or Ukrainian would vote for such a thing? It’s just history.”

    While Ukrainian authorities are working hard to disassemble the Russian monuments in their country, Moscow is doing the opposite in Ukrainian territories it has occupied, restoring statues and symbols of the Soviet era.

    Two weeks ago in the seaside town of Henichesk, in the Kherson region, which is occupied by the Russian troops, a familiar figure returned to the main square. A statue of the Bolshevik leader Vladimir Lenin, sporting his familiar goatee and moustache, was back on his pedestal, erected by Russian soldiers."

    #Contestedmonuments #Ukraine #Russie #Stalin #Marx #monuments #statue #soviet