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Collocato nello SPAZIO PUBBLICO

Portatore di un MESSAGGIO POLITICO (UNA NARRAZIONE DELLA STORIA)

Identità nazionale condivisa (ipotetica)

Strumento per legittimare il potere politico (SI DECIDE COSA RICORDARE)

Interpretazione talvolta contrastante

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Arrivano i marziani: disegna per loro il "tipo" del monumento per spiegare di cosa si tratti - classe 5AS

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Da confrontare con gli elementi "classici" ricorrenti del monumento

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https://www.pietredinciampo.eu/progetto/

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Antony Gormley's proposal, , was for the Fourth Plinth to be occupied for 100 consecutive days, 24 hours a day, by members of the public who would volunteer to stand on it for an hour at a time. 2,400 people would be able to participate.

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One & Other - Exhibitions - Antony Gormley

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Antony Gormley's proposal, One & Other, was for the Fourth Plinth to be occupied for 100 consecutive days, 24 hours a day, by members of the public who would vo

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Reflecting Absence, Michael Arad e Peter Walker

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Daniel Libeskind, Museo Ebraico di Berlino, Torre dell’Olocausto.

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https://www.artesvelata.it/museo-ebraico-berlino-libeskind/

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#risemantizzazione

#memorie condivise #memorie plurali

#monumentale #anti-monumentale

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https://www.artribune.com/arti-visive/2018/04/monumenti-storia/

www.ilsileno.it/filosofiesemiotiche/wp-content/uploads/2021/08/2-Bellantani.pdf

https://it.pearson.com/aree-disciplinari/agora/arte/lezioni-arte/responsabilita-memoria-forme-funzioni-luoghi-ricordo.html#

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William-Cobbing-Bamiyan-Mirror-2009-10 - immagini che riprendono le nicchie vuote che ospitavano Buddha in Afghanistan, distrutti dai talebani nel 2001.

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Memento Park, Budapest

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Abbandonare + lasciare posto a interventi spontanei

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Abbandonare + lasciare posto a interventi spontanei

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Monumento di Buzludza in Bulgaria

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Francesco Arena. Occhio destro occhio sinistro 2011.Installation,-Peep Hole, Milano-768x575

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Francesco Arena. Occhio destro occhio sinistro 2011.Installation,-Peep Hole, Milano-768x575

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IL BASSORILIEVO A BOLZANO: DA HANS PIFFRADER A HANNAH ARENDT

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Questo è dunque un monumento? Cosimo Veneziano

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Questo è dunque un monumento? Cosimo Veneziano

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a.titolo » progetti per l’arte contemporanea » Questo è dunque un monumento? Cosimo Veneziano

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Cosimo Veneziano’s 2012 monument to the Superga women workers, the first such piece dedicated to female work in Italy, was inspired by a research at the Historical Archive of the City of Turin. Following his study of documents and interviews with ex workers, and taking the question And so this is a monument? – aimed at encouraging reflection on the memory gap surrounding women’s history and their role in the work place – as his starting point, the artist enabled an anonymous urban structure to be imbued with a story that, to this day, has not received collective recognition. On the new fountain built on the green area at via Verolengo, which, until the 1980s, housed unit 52 of the Superga rubber shoe factory, the artist placed a series of forms in weathering steel, representing the movements repeated on a daily basis by the women. In 2015, the garden was officially dedicated to the Superga workers by the City of Turin.