Drawing on History
Monuments have evolutionary interpretations that develop over time with rising and falling relevancy. Monuments of public art tend to have more interpretive flexibility than statues or architectural works. Public art projects showcase a historical memory through the perspective of an artist, and in some cases, allow the public to be the artist.
When the topic of memorialization through public art came up in class, I simply could not refrain from once again gushing about the Berlin Wall and replica Berlin Wall I worked on last summer at the National Czech and Slovak Museum.
The Berlin Wall was a monument of oppression, but it was also a blank canvas. One method of dealing with objectionable monuments is countering them with representation of other perspectives. West Berliners countered the stifling communism for which the Berlin Wall stood, by turning it into a piece of public art, covering stark concrete walls with colorful protest art.
The Berlin Wall eventually went through one of the most dramatic and highly anticipated monument removals in history, though colorful chunks of the barricade remain as memorials in Berlin to serve as reminders of the resilience of citizens who protested against oppressive communism.
A replica of the Berlin Wall was constructed outside the NCSML last spring to bring this energy of protest to Cedar Rapids, IA. This Berlin Wall was not constructed to divide Riverside Park and Czech Village, it was built exclusively as a public art memorial. Just as Krysztof Wodiczko’s Bunker Hill Monument Projection showcased modern stories projected onto the monument, modern stories were painted onto the surface of this Wall. Over the summer, the Wall was painted and repainted by visitors who, by constantly changing its appearance, transformed the experience for each subsequent visitor. Each visitor’s interpretation of the Berlin Wall relied on what words, images, and colors stood out most.
A quote I painted on the Berlin Wall inspired visitors to consider the role of freedom in their own lives.
One space on the Wall remained unaltered all summer. This section on the was left blank to commemorate the east side of the Berlin Wall, blank from the tyranny of communism. This blank space stood in sobering contrast to the vibrancy of the rest of the wall. It reminded visitors to value the freedom many risked their lives for 30 years prior. I vigilantly kept this space free of wayward spray paint and brush strokes so it could be interpreted as such.
This panoramic shot of the Berlin Wall shows the contrast of the blank section against a mural designed by Thomas Agran. The plaque reads: “In Honor of the millions who lived under communism and would have never seen the colorful murals that covered the Berlin Wall, please leave this section of our replica blank. We must never forget the stark realities that so many faced for decades under communism. May we continue to fill our world with color.”
At the wall, I assumed the role of interpreter. The story of the Berlin Wall was barely mine to tell. Celebrating just 30 years after the fall meant many visitors with whom I interacted lived through the Cold War. No number of photos, videos, articles, and books could ever give me the perspective of being in Berlin on November 9, 1989, living under communism in Prague, or fighting in Korea and Vietnam. The wall provided survivors with space to convey their own history into interpretive artwork.
The NCSML’s Berlin Wall was torn down on November 9, 2019. The monument’s fall was its final offering of interpretation. Bittersweet to see months of artwork crushed, the cheering crowd told a story of empowerment and patriotism as the community joined together to assert their freedom.
“Tear down this wall!”
Iowans, 2019
The Melina Testin Historical Society 