By Tanja Schult

Raoul Wallenberg is greatly remembered for his humanitarian job on behalf of the Hungarian Jews in Budapest on the finish of global struggle II, and referred to as the Swedish diplomat who disappeared into the Soviet Gulag in 1945. this present day, Wallenberg’s instance is used to speak humanitarian values and human rights in lots of democratic societies. His tale includes a classical hero narrative which has survived the ‘un-heroic’ twentieth century.

In 2008, there exist thirty-one Wallenberg monuments in twelve nations on 5 continents, from Hungary to Sweden, from Canada to Chile, from Australia to Russia. the wealthy range of the monuments invitations to debate the several suggestions of Wallenberg and heroism as expressed within the artists’ works. The art-historical concentration of this interdisciplinary research makes it a worthy contribution to the dialogue of non-public monuments, in addition to to the socio-historical learn at the commemoration of Wallenberg and the concept that of the hero.

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

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In this way, the work challenged the genre’s involvement with the powers during the dictatorships and demanded a discussion of the genre’s current possibilities. Even today there is still a vivid mistrust toward the monument genre, which has been reflected in many projects. Many artists took up the problem of “monumentality” including the Swedish artist Alejandra Introduction 17 Lundén with her installation För tro—en installation med 843 byggklossar (For Belief—An Installation With 843 Building Bricks, 2006–).

This condition challenges the genre in many ways as it grants it the possibility of influencing society. However, this condition is also the reason why the genre was a suitable tool for political propaganda. The genre’s reputation suffered from its misuse especially during the twentieth century. Independent from any moral implications, the fact that monuments are public can lead, in contrast to a planned visit at a museum, to surprising encounters with sustainable effects on the life of some individuals.

67 In trying to understand the Wallenberg monuments in their given contexts, it is necessary to realize and explain the intellectual links expressed in the works. These coherences are not immediately comprehensible when looked at superficially; comprehensive descriptions and analyses are important. 69 The analyses of the individual monuments follow the hermeneutic circle that determines the process of interpretation: the whole must be understood from the individual and the individual from the whole.

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