**Key Sentences Extracted (per your request):**

1.

"Russian Flag Painted on Copenhagen's Most Famous Landmark.

It’s the latest in a long line of attacks on Little Mermaid statue."

"Iconoclasm isn’t just an expression of anger.

It’s how we try to make new worlds.

In fact, I would argue, the whole story of iconoclasm is of perennial significance, a fact that should be as obvious today as in any previous era."

"It is a rejection of existing notions of authority and a quest for whole new groundings, free of the claims of tradition."

"In their power to teach values, the acts of removal or destruction are as didactic as the images they are combating."

"But no less common is the practice of critiquing or destroying them."

"Who decides who is put on a pedestal?

In an opinion piece, a group of academics and curators argues that the time has come for greater transparency and new types of commemoration.

The need for a diverse culture of remembrance is clear."

"But how can such a polyphony be taken into account when dealing with the existing monuments in public spaces?

And why is there no public discourse?"

**Specified to your dissertation focus: incidents, context, motives:**
- "Russian Flag Painted on Copenhagen's Most Famous Landmark.

It’s the latest in a long line of attacks on Little Mermaid statue."

- "Iconoclasm isn’t just an expression of anger.

It’s how we try to make new worlds."

- "It is a rejection of existing notions of authority and a quest for whole new groundings, free of the claims of tradition."

- "In their power to teach values, the acts of removal or destruction are as didactic as the images they are combating."

- "But no less common is the practice of critiquing or destroying them."

*Note: While the provided text does not give specific years, perpetrators, nor detailed stories for the individual vandalism cases of the Little Mermaid statue, the key sentences above are directly relevant to the themes of your research—iconoclasm, sociological context, motives, and public discourse.

The only explicit case referenced in the text is the painting of a Russian flag, which contextualizes a recent act among many.

Certainly!

Here is an extraction of the **key sentences** from your text, carefully selected according to your specific information request about **vandalism acts targeting the Little Mermaid statue in Copenhagen**.

The sentences below are the only ones from the given text that directly contain or suggest any information about intentional damage, statues, or acts of vandalism, and all are extracted for their informational value relevant to the sociological and psychological study of such cases:

---

- “By the middle of this year, we are almost at the point of just 2022 in terms of the number of acts of vandalism."

- "From the side of this can not be seen, but the back of one of them after six months has already been pierced."

- "For example, in the Necropolis of Masters of Arts, which is also part of the Museum of Urban Sculpture."

- "This is probably due to a new urban legend.”
- “Today, a criminal case was opened against the guard under the article “Vandalism”.”
- "Picture of the day"
- "It is most difficult to sculpt a face”: a resident of Chernyakhovsk decorates the city with snow sculptures."

- "And to the fact that his sculptures are broken, he now treats philosophically."

---

**Note:**
The provided text does not contain any specific information about the repeated intentional damages that the Little Mermaid statue in Copenhagen experienced, such as dates, details of the damages, identified perpetrators, or the stories behind each incident.

Instead, it discusses vandalism in more general or unrelated contexts (e.g., other works of art, urban legends, attitudes toward sculpture vandalism).

If you have a text specifically focused on the Little Mermaid, or wish for a researched report on that topic, please let me know and I can provide detailed information with full referencing on all major incidents involving the statue.

Certainly!

Based on your information request about **vandalism of cultural landmarks** and the example case of the **Little Mermaid statue in Copenhagen**, I have extracted and listed the most important sentences from the provided text.

The focus is on references to acts of vandalism, the role and perception of such acts, and discussion of related narratives that would help in a **discourse analysis** of mass media treatments of vandalism toward cultural landmarks:

---
**Key Sentences Extracted:**

1.

"Dear reader, if you are walking in your car, then you find “bandits” who stood in front of you, slept in front of the wheels and prevented you and prevented people from passing, or if you are in a museum and surprised by a group of people destroying and breaking art paintings or painting the exhibits in orange..."

2.

"This may sound crazy dear reader, and remind you of the story of the sieve who criticized a needle because it has a hole!"

"Why did you steal the painting from the museum?"

"I wanted to send a message to the world that art that does not respect the environment must be removed."

"But the key concept in the study in generating tools and turning an animal into a human is work."

"But what happens is that this tool accumulates knowledge history and work in it, becomes part of a collective property, accumulates its forms, and becomes independent of man."

"Then the work of this instrument accumulates, and it spreads into human collective consciousness with a symbol that refers to it, a certain instrument of its own."

---

**Rationale:**
Sentences 1-4 refer explicitly to acts of vandalism (breaking, destroying, painting over, or stealing art), the media's framing ("send a message to the world"), and attempts to justify such actions (environmental motives).

Sentences 5-7 reference the symbolic and collective ownership of cultural tools (statues, art) that underpin the broader sociological value of public art and its significance as a frequent vandalism target in cultural discourse.

**Note:**
The provided text does not contain a direct list of individual incidents involving the Little Mermaid statue, but the selected sentences relate to sociological and psychological motivations, media representation, justification, and the symbolism of public art—all central elements in your dissertation's theme and relevant for discourse analysis.

If you require a chronological factual report of Little Mermaid vandalism incidents specifically, please let me know!

**Key sentences extracted from the text based on importance to your information request (intentional damage, acts of vandalism, when they happened, the nature of damage, motives and context):**

1.

"Due to the removal of the ink stain, it is feared that it will cause irreversible second-degree damage, so the repair work can only be promoted by bulldozing."

"Huang Tushui's 'Mannu Water', like the daughter of Taiwan, takes the cangs of half a century back to her mother's home, the poison of evil ink and the evil of human nature, making people speechless."

"The little head was shot through a hole."

"▲ The turtle head part of the statue was smashed, so that people can see the pain."

"After the incident, the artist put a banana on it, saying that he did not intend to pursue the university student."

"Bronze statues or signs that once existed and carried collective pain, or were collectively removed in full view of the public or in the dark of night."

"The park will remove Chiang Kai-shek’s bronze statue and change the axis of the park’s space in order to reconstruct the memorial narrative, but does it have to be removed to reconstruct the narrative?"

"Unlike in Taiwan, which is claimed to be done by children, it is often modified by large numbers of people, and even is done by adults from beginning to end."

**Note:** The text provided refers more broadly to symbolic violence, vandalism, and collective memory, with limited concrete incident data regarding the Little Mermaid in Copenhagen.

Still, the extracted sentences address key acts of damage (ink stains, head being shot, smashing), hints at motives (protest, evil of human nature), references to restoration challenges, and considerations about public space and collective memory.

More detailed chronological data may require additional sources specific to the Little Mermaid statue vandalism history.

**Key Sentences Extracted (per your request):**

1.

Title:

Content: Lyndon Barrois Jr.: Rosette uses a fake heist film to address real issues in the art world | Pittsburgh City Paper

Lyndon Barrois Jr.: Rosette uses a fake heist film to address real issues in the art world

click to enlarge
Photo: Sean Eaton
Lyndon Barrois Jr.
There’s an elephant in the room at the Carnegie Museum of Art’s Forum Gallery – one you see, and one you feel.

An Art Nouveau-inspired painting titled “Kaleidoscope” comes with gold-lined ears and bold primary colors in an abstraction of shapes that resembles an elephant. There’s a leopard, borrowed from the adjoining Carnegie Museum of Natural History, perched on stacked crates. There’s a bookcase filled with real and fake crystals, artifacts, and other objects. In the center of the room is the empty working station of a questionable presence – a possible art forger.

With Rosette, on view at CMOA through Aug. 27, Pittsburgh-based artist Lyndon Barrois Jr. places museum-goers into the center of a space that nearly resembles a movie set, complete with a never-to-be-realized short script for a heist movie about museum conservators-turned-forgers. Barrois uses his solo show, featuring a whole new body of work, to consider an art movement influenced by stolen artifacts and defined by exploited labor. Even when silent, there’s another elephant presence with you in the room: the legacy of colonialism.

Pittsburgh City Paper spoke with Barrois about the origins of Rosette, the ways art is influenced by colonialism, and the complex idea of ownership in museums.

When did you start conceptualizing the show?

The story of the conservative-forger narrative is something that has been on my mind for almost 20 years. And originally, it was going to be just a full screenplay. It was after my own experience of taking a class on painting conservation. I was also really interested in crime fiction novels. At first, it was like, maybe it’s a novel or novella, and then I was like, no, I kind of see it, so maybe it should be a film. I've been thinking about it in the context of a film for a while, but the structure of that story and the character makeup has changed over time.

Originally, the motivation to forge something was to protect it from a greedy inheritor, or someone who was going to inherit it and do something that the original owner didn't want to be done with it. So it was a sort of, like, protective strategy, to keep the real thing safe. And to allow a fake thing to travel in the world or through a market.

Later, I was reading more about the history between Belgium and the Congo, and things just kind of snapped into place, where I was like, this history feels like a good motivator. I'm interested in this history, I want to do something to speak to it.

The use of cinema in your art is recurring. Where does it originate, and why use cinema as a conduit for your message?

It lends itself to the production of physical things because there's already this way that stories allow objects to carry meaning. And also, I think, as a culture, the way that we consume film and television, you know, cinematic media, we're already accustomed to the language of marketing, and how these things are advertised to us and how we have a sense or a perception of a story before we actually we see the actual film. ... I've always kind of been interested in advertising and marketing strategies.

And so, it was just sort of convenient that film production or the history of Hollywood marketing strategy has existing forms that I can play with or alter or rescale, and kind of translate into paintings or sculptures that also fit within or mimic the aesthetics of posters, lobby cards, film stills, physical props, you know, set environments. Playing with that, like the museum is a prop house. The museum has a collection. It’s a way of thinking of a museum collection as a sort of prop house. What can I borrow to assist the narrative I'm trying to tell? To that point, many of these objects are borrowed. It’s a very meta and also somewhat sustainable choice.
click to enlarge
Photo: Sean Eaton
"Masters of Fine Arts," part of Lyndon Barrois Jr.: Rosette at CMOA

Can you talk about the process of choosing pieces to borrow and your goal in using borrowed pieces?

I feel like every visit we made a different, slight alteration or clarifying decision about what we wanted to do, which is really fun. And then once I got a sense of what objects I was using from the museum, then I could decide, okay, what do I need to make, to play off those things? Some things I already knew. I think I knew I wanted to make lobby card portraits. I knew I wanted to recreate at least two objects that I found buried in a Belgian institutional collection, which are the King Leopold II [work] and sculpture of two children playing. Both of these are definitely meant to reference rubber extraction and labor exploitation. This fragmented sculpture of children playing with their missing limbs was obviously a reference to punishment that people who were put to work in the Belgian Congo and who were amputated as a form of punishment, so I wanted to allude to those things without literally showing them.

There’s a lot of allusion here, and I really want to talk about the literal and figurative elephants in the room. Can you talk about the elephant, and unpack the symbolism?

This [elephant piece] was inspired by a series of essays by Debora Silverman called Art Nouveau: Art of Darkness. She is kind of making a case about these kinds of colonial roots within Belgian Art Nouveau, because a few of the more notable designers of this movement in that part of the world were affiliated with King Leopold, or commissioned by people within Leopold’s circle. So it's a combination of design works or elements from [Belgian painter Henry van de Velde] and [Belgian architect Victor Horta]. And there are other visual examples from different designs of theirs, either referencing something that she described as elephantine, or whip-like or vine-like to reference the rubber vines.

It's also a different visual identity that they take on as distinct from different parts of the world. So yeah, just kind of trying to locate that visual lineage, and these designers, and how their relationship to these resources that were extracted by exploitational means were kind of embedded in their design sensibility.

There’s a tension here, between the desire to appreciate art through conservation and the potential harm done, that comes with keeping art in a way different than what the artist intended. Can you unpack that?

I was told by a conservator that there's an interesting shift between generations of artists, where, I would say, historically, in terms of hundreds of years ago, there was a sense of archival practice. And then we move into modern, post-modern [eras] to where people are making all these material experiments, and however the work is, whatever happens to it, they're okay with it degrading to a certain degree.

But now, with contemporary art, I think we're interested in this weird thing of allowing something to decay or change up to a point, and then we want to freeze it there. And that's much harder to do. I think there's one part of a conversation in which value by colonial entities has been achieved by taking things, like resources, raw, natural resources, to fuel a particular economy.
click to enlarge
Photo: Sean Eaton
"Guardians Gate (Farfanicchio)," part of Lyndon Barrois Jr.: Rosette at CMOA
There's also the case in which objects, like cultural artifacts, fetish objects, are taken from a place for their sort of exotic properties, and then, based on the new ownership, get assigned a particular value. Or even the way that something just simply being in a museum collection changes its value or changes its perceived value, which I guess I could say was also something that I've always been interested in, of using cheap materials presented well, or presented carefully, to hopefully change the perception of how it’s valued. I used a lot of cardboard in my work when I was an artist no one cared about. That was a highly critical aspect of my work. While at the same time, I could go to a museum and see a cardboard sculpture that is being so cared for.

So there are these kind of discrepancies as well. I'm also asking the question about aesthetic value. There's a bit of that in the script text as well. Like, if an object fulfills the same aesthetic experience as an original, does it matter whether or not it's fake? That’s just a question that I've always had ... at what point do I need the actual object? If I have a really satisfying image of it, at what point does an image satisfy the use of an object? At what point does an object simply reduce itself to being an image? These kinds of things, I think, are still at play.

What should museum-goers be considering about the art they’re viewing and the conservation that keeps it viewable, that they may not already be considering when in a museum?

Acknowledging the relationship between things that are seemingly separate. Like, what does an elephant molar have to do with [Patrice Lumumba, former Prime Minister of the Democratic Republic of the Congo]? Actually, one of the people involved in his assassination took one of his teeth. This is where the name “precious gums” comes from. Little things like that. There are just some things, like, when objects are illuminated by historical anecdotes or historical realities or a particular narrative, that there’s a connection that’s formed between them. … How the past impacts the present and the future always. These kinds of relationships are not just cyclical but seemingly unending.

This interview was edited for length and clarity.
Lyndon Barrois Jr.: Rosette. Continues through Aug. 27. Carnegie Museum of Art. 4400 Forbes Ave., Oakland. Included with regular admission. carnegieart.org

"Russian Flag Painted on Copenhagen's Most Famous Landmark.

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

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It’s the latest in a long line of attacks on Little Mermaid statue."

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

We use cookies. By Clicking "OK" or any content on this site, you agree to allow cookies to be placed. Read more in our privacy policy.
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Tap to install our app.
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2. Tap to Add to Home Screen.

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Title:

Content: Advertisement

How do we deal with controversial monuments that are also part of Vancouver's history?

While there were a variety of views, the consensus is a cooling-off period might be the best solution before reintroducing controversial works and explaining the context in which the art was created.

Article content

Statues have been in the news a lot lately, not because they’re shining examples of public art displaying the best of humankind, but for the racist and colonial concepts they’ve come to symbolize.

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What to do with them, though: Should they be destroyed? Hidden from view in a dusty backroom of a museum somewhere?

A panel of local art experts tackled that question on Feb. 10 and, while there were a variety of views, the consensus was a cooling-off period might be the best solution before reintroducing controversial works and explaining the context in which the art was created.

“A Columbus statue, for example, needs to be put away for awhile,” said Angela Clarke, director and museum curator at the Italian Culture Centre Gallery and moderator of the public-art panel. “We need to acknowledge he was not a good person.

“I think there’s a lot of negotiation with that and we need to reflect on how we present these things thoughtfully.”

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It may surprise a lot of people that for years the PNE was home to a statue of a young Columbus, a gift from the Italian sailor’s hometown of Genoa called The Dreamer, until it was removed to storage early last year after several acts of vandalism and a threat to decapitate it.

Or how to explain to tourists milling around the statue of Gassy Jack at Maple Tree Square that the saloon keeper who gave his name to Gastown that, at age 40, he married a 12-year-old Indigenous girl who, after giving birth to a son, ran away at 15?

Or a bust of Benito Mussolini, the fascist dictator who was Adolf Hitler’s ally in the Second World War, that was once displayed at the Italian Cultural Centre.

It was that Mussolini bust by Charles Marega, an immigrant sculptor from Italy who anyone crossing the Lions Gate Bridge heading north will know of from the lions adorning the Stanley Park side of the bridge, that eventually wound-up leading to last week’s panel discussion.

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“It started as a celebration (of Marega), then became more of a roast, and then at the end it was a bit of an excoriation in a way because you’re starting with this figure who really brought a lot of dignity to the Italian community at a time when there was a lot of racism toward that community,” Clarke said. “Marega was this elegant, artistic figure who was commissioned to do all these amazing things and he was popular because he was bringing all these European ideas like Beaux-Arts here.

“As time has gone on, as much as we are staggered at how wide-ranging his influence was in public sculpture here in Vancouver, at the same time there’s so much that’s questionable about the things he did.”

For one, his very notion of what public art was for was diametrically opposed to what we consider its purpose is today, Clarke said. Marega’s idea was public art should represent the corporate culture of the city and that that is what people in the community not only expected, but also wanted public sculptures to reflect.

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“There was no sense of questioning the status quo and of course the lions on the bridge, as beautiful and majestic as they are, for an Indigenous person … ”

The bridge lions aren’t mountain lions, after all, they’re symbols of Britain and its aristocracy, and the peaks they’re named after had a name — Ch’ich’iyúy Elxwikn, the Twin Sisters — long, long before contact with Europeans.

But do we destroy the statues? Take them down and store them?

Panel members had several thoughts:

“There really shouldn’t be a blanket statement across the country, or across the province,” Ammar Mahimwalla said.

Mahimwalla now lives in Victoria but for five years until 2018 he was the special projects adviser with Vancouver Biennale.

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“My sense personally, using artwork for cultural monuments as learning tools is definitely important,” he said.

Growing up in India, a lot of colonial history was officially erased, practically overnight: Cities were renamed, statues were taken down and placed in “museum graveyards where nobody would really go visit them.”

“Which is worse in some cases,” he said, than keeping the art front-and-centre to remind people of what not to repeat.

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This Week in Flyers

"Iconoclasm isn’t just an expression of anger.

Title:

Content: Smashing statues

Iconoclasm isn’t just an expression of anger. It’s how we try to make new worlds.
February 17, 2023
(Source image from Rijksmuseum, Amsterdam)

Sometimes, bored indifference can sting worse than outright hostility. I was telling a friend about my present book project, The Storm of Images, which concerns the iconoclasm struggle in the Byzantine Empire during the eighth and ninth centuries. In my view, it’s a pivotal moment in the definition of Eastern and Western Christian traditions, so I was somewhat deflated when my friend asked, in effect, Why on earth would you want to do that? It’s so long ago, and the whole story is, well, Byzantine, a word that through the centuries has acquired plenty of negative baggage.

Fortunately, I was able to articulate a response that went beyond the simply defensive. In fact, I would argue, the whole story of iconoclasm is of perennial significance, a fact that should be as obvious today as in any previous era. Not only is smashing images an absolutely standard and recurring part of what societies do, but it is a fundamental part of religious sensibility, and by no means only for Christians. Simply put, it’s the way that we try to make new worlds.

Image smashing arises from two distinct impulses. Some iconoclasm grows out of hatred of a particular individual or the beliefs and causes that they represent. Here the smashers are striking at the figures represented, seeking to purge their memories as evil and unwanted. Such were the attacks on Soviet and communist images following the collapse of the Eastern bloc in 1989. More recently, in the United States, we see assaults on statues of Confederate heroes such as Nathan Bedford Forrest or Robert E. Lee. Through attacks on objects, activists are attacking the larger causes represented by those images. The United States has, since 2020, experienced a historically very sizable and socially transformative outbreak of iconoclasm, which has been echoed around the world.

Other smashers may truly venerate or love the individuals depicted, but they reject the depiction itself. In this category, far from condemning the figure represented, activists are driven by the exalted view that they have of that person, and they are rather agitated by the very notion of representing them in material or visual form. Such representation is thought impossible, the attempt evil or blasphemous. Any form of worship or prayer directed at objects is unacceptable, and it is futile to draw distinctions between worship and veneration, of praying to a material thing as opposed to praying through it. This attitude, this rejection of material images as such, was a fundamental driving force in the European Reformation—one at least as important as any particular theological doctrine of any given thinker.

The smashing of images is commonly one sensational aspect of a larger package of religious innovations, often of a quite revolutionary character. These tenets might include an assertion of inner spirituality over external or material symbols, along with perhaps a stern rejection of institutional religion or professional clergy.

Iconoclasm coexists intimately with anticlericalism. It is a rejection of existing notions of authority and a quest for whole new groundings, free of the claims of tradition. Depending on the context, the destruction of religious images can be an assertion of the supremacy of secular authority, of kings and governors over bishops and priests. The fact of destroying supposedly sacred objects—and remaining unharmed—sends a powerful message about the futility of those objects. If they are so potent, why can they not even protect themselves?

For both categories of iconoclast, their achievement lies not in destroying a given statue or altarpiece but in asserting the power to do so, against the power of the old order that hitherto had been its shield and defender. To strike at a statue or image—to bring down a Confederate general—is also to attack the institutions or individuals that erected those figures in the first place and who support their maintenance. It is a symbolic statement of who controls the visual landscape.

Moreover, the mass public violation of older taboos and restraints proclaims the impotence of that old guard. The fact that authorities no longer have the will or ability to prevent the removal of such once-cherished things in itself proclaims the end of an old world and the creation of a whole new order of society or politics. It is zero hour.

Even when the matters at issue are ostensibly secular, such acts of protest often acquire a ritualized format, which has echoes of enthusiastic or revivalist religion. Scenes of the removal of statues or images unforgettably proclaim these moments of revolutionary transformation. They are deliberately theatrical. In a modern context, visual representations of such acts of destruction become iconic in their own right. In their power to teach values, the acts of removal or destruction are as didactic as the images they are combating.

Making images is a perennial and fundamental component of the human religious experience, and so is crediting them with supernatural powers. But no less common is the practice of critiquing or destroying them. Sometimes we commemorate people’s faces; at other times we deface, and with equal passion. In order to be balanced and objective, a hypothetical museum of global religions should properly include its share of hacked and defaced icons, of fragments of toppled and shattered statues. The never-ending dialogue between the two competing approaches, the smashers and the devotees, has often driven religious thought and artistic expression.

John Calvin famously declared that “the human mind is a perpetual factory of idols.” I would adapt that to say that, time and again, history proves that the human mind is a powerful factory of image breaking, of iconoclasm.

It’s how we try to make new worlds.

In fact, I would argue, the whole story of iconoclasm is of perennial significance, a fact that should be as obvious today as in any previous era."

"It is a rejection of existing notions of authority and a quest for whole new groundings, free of the claims of tradition."

"In their power to teach values, the acts of removal or destruction are as didactic as the images they are combating."

"But no less common is the practice of critiquing or destroying them."

"Who decides who is put on a pedestal?

Title:

Content: Navigation

Who decides who is put on a pedestal?

Monuments in public spaces are a politically charged issue, with closed circles of experts often making decisions about who or what gets memorialised in Switzerland. In an opinion piece, a group of academics and curators argues that the time has come for greater transparency and new types of commemoration.

This content was published on February 27, 2022 - 10:00
Philine Erni, Sarah Grossenbacher, Rachel Huber and Vera Ryser

The Swiss women’s strike in 2019 and the Black Lives Matter movement that began in the United States in 2020 have helped to raise questions about the politics of memory in Switzerland. In the country’s public spaces, there is an absence of memorials to women, people with migration experience and people of colour.

The authors

Philine Erni is an art and literary academic and will be part of the management team of Theater Winkelwiese in Zurich from the 2022/23 season.

Sarah Grossenbacher studied history, sociology and spatial planning and is co-head of urban planning at the City of Lucerne.

Rachel Huber has a doctorate in history. She researches and teaches at the Department of Modernism at the University of Lucerne and is co-founder of the Historians' Network Switzerland.

Vera Ryser is a freelance curator, exhibition organiser and literary academic. Among other things, she co-initiated the project Das Wandbild muss weg!External link (The mural must go!).

End of insertion

Instead, it is mostly white male figures standing on pedestals of bronze or stone. For decades – centuries, even – they have represented Swiss progress, innovation and success. What’s often overlooked is that their success and wealth are built on, among other things, the exploitation of indigenous peoples, the keeping of slaves or their support for the slave trade.

Various voices have demanded that statues of such figures be transferred to museums or re-interpreted and their hidden stories be revealed and displayed.

The year 2021 marked 50 years since Swiss women obtained the right to vote. Many academic conferences and media reports, such as one in the German-language NZZ am SonntagExternal link newspaper, took stock of progress made in that time: roughly 70% of artworks shown in Swiss museums are by men; nine out of ten streets named after a prominent figure are named after a man; and women go largely unmentioned in history books.

The need for a diverse culture of remembrance is clear. But how can such a polyphony be taken into account when dealing with the existing monuments in public spaces?

Who decides? And why is there no public discourse?

Depending on their significance, existing monuments in public spaces fall under the responsibility of either city or cantonal heritage authorities. But deciding which structures can receive heritage status – and therefore become officially part of public remembrance – is the responsibility of heritage conservatorsExternal link. Normally these decisions come without public consultation, even in the case of public monuments that hold great symbolic and political significance.

Thanks to political pressure, in the city of Zurich a working group (Kunst im öffentlichen Raum or Art in the Public Space) is examining 26 statues, while the historian Georg Kreis is looking at “just under 40 monuments”External link. These studies are generally welcome, but they still raise questions: Who are the experts in this case and who is being brought on to offer advice? And why is there no public discussion, despite there being a highly political question at the core: how do we as a society want to remember the past?

Regulations exist primarily on the protection and preservation of monuments. Even artworks commissioned for public spaces are created for eternity, barring damage. Can activism alone prompt a swift removal? Vandalism can touch a nerve, but it only solves the problem of unbalanced representation in public spaces in a selective way. As seen with demands since the 1970s from feminists that public squares and streets be renamed, little has changed structurally: the demands are far too seldom complied with to this day.

Yet involving locals in a discussion is both possible and sensible. In recent years, many municipalities have gathered experience with participative processes. These have taken many forms: surveys, roundtables and workshops, even games and guided tours, both digital and in person. Why aren’t these forums being used to talk about public monuments?

What must we rethink or unlearn?

At this point, it is worth taking a look at the current restitution debate, where the art historian Bénédicte Savoy and the economist Felwine Sarr have called for a “gesture of restitution” with considerable success. “Gestures of removal” or “completion” could serve as a good starting point for a new approach to memory culture. They could also contribute to a new type of relationship between segments of society that are over-represented and those that are under-represented – one that gives a sense of community and belonging.

This approach would be based on the view that history, too, is “in constant flux,” as the historian Achim Landwehr puts it: the past, present and future are all related and historical narratives are constructs of the present-day perspective. This concept of history inevitably calls into question today’s assumption that monuments are valid for eternity.

To forge a new culture of remembrance that’s fit for our times, cities and towns need to actively promote a new type of relationship in public spaces, not just to protect their monuments, but also to renew them. The recent call to supplement the statue of David de Pury in Neuchâtel with works that will initiate a critical dialogue about the original statue of the Swiss banker and slave trader, and the Zurich project group to combat racism in public spaces show that Swiss cities are beginning – albeit slowly and within the constraints of existing structures – to take an interest in a new remembrance culture.

This new culture requires existing specialist juries to relinquish their power and make way for more participative strategies and greater transparency. This way it would be possible, at last, to anchor our towns’ public spaces in the present and distance ourselves from the misunderstanding that “heritage” should serve as a lasting commemoration of a system bequeathed to us by the past.

Existing statues would be complemented by achievements and realities that are part of our society but are not memorialised in public spaces – and therefore remain invisible. They include women, the LGBTQ community and people of colour as well as subjects that remain socially taboo: forced labour and Switzerland’s policy on foreign seasonal workers, for example. One pre-requisite for a diverse, intersectional culture of commemoration and remembrance would be that these “others” can participate in political, legal, institutional and cultural life.

Anyone who wants to contribute to this must work on visibility. It starts with basic research. And we have to establish different and more current forms of remembrance: “edit-a-thons” (where authors create articles collectively on neglected historical women for the online encyclopaedia Wikipedia) or hashtags such as #metoo and #blacklivesmatter. Perhaps these are examples of a future memory culture: they are participative and digital, ephemeral and volatile.

(Translated from German by Catherine Hickley/gw)

The views expressed in this article are solely those of the author, and do not necessarily reflect the views of SWI swissinfo.ch.

In compliance with the JTI standards

More: SWI swissinfo.ch certified by the Journalism Trust Initiative

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In an opinion piece, a group of academics and curators argues that the time has come for greater transparency and new types of commemoration.

The need for a diverse culture of remembrance is clear."

"But how can such a polyphony be taken into account when dealing with the existing monuments in public spaces?

And why is there no public discourse?"

**Specified to your dissertation focus: incidents, context, motives:**
- "Russian Flag Painted on Copenhagen's Most Famous Landmark.

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

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It’s the latest in a long line of attacks on Little Mermaid statue."

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

We use cookies. By Clicking "OK" or any content on this site, you agree to allow cookies to be placed. Read more in our privacy policy.
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X
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in two easy steps:
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- "Iconoclasm isn’t just an expression of anger.

It’s how we try to make new worlds."

- "It is a rejection of existing notions of authority and a quest for whole new groundings, free of the claims of tradition."

- "In their power to teach values, the acts of removal or destruction are as didactic as the images they are combating."

- "But no less common is the practice of critiquing or destroying them."

*Note: While the provided text does not give specific years, perpetrators, nor detailed stories for the individual vandalism cases of the Little Mermaid statue, the key sentences above are directly relevant to the themes of your research—iconoclasm, sociological context, motives, and public discourse.

The only explicit case referenced in the text is the painting of a Russian flag, which contextualizes a recent act among many.

Title:

Content: Russian Flag Painted on Copenhagen's Most Famous Landmark

It's the latest in a long line of attacks on Little Mermaid statue
By Rob Quinn,  Newser Staff
Posted Mar 2, 2023 10:15 AM CST

The Little Mermaid statue in Copenhagen, one of Denmark's most famous landmarks, has been vandalized yet again, this time with the Russian flag. Authorities said Thursday that the white, blue, and red stripes of the Russian flag were painted on the stone the statue sits on, Reuters reports. Police said the vandalism was discovered early Thursday. "We are of course launching an investigation to find out who did it and when and how it happened," a police spokesman said, per Jyllands-Posten.

Denmark, like other European nations, has strongly criticized Russia's war against Ukraine. The small statue, a tribute to the Hans Christian Andersen fairy tale, sits off a waterfront promenade in the Danish capital. It has been vandalized many times since it was installed 110 years ago, AFP reports. It has been decapitated twice and was knocked off its base with explosives in 2003. In 2017, it was doused in red paint in a protest against whale hunting. In 2020, during worldwide protests after the death of George Floyd, the words "racist fish" were painted on the base, though Andersen scholars said they weren't aware of any racist elements in the fairy tale. (Read more The Little Mermaid stories.)

We use cookies. By Clicking "OK" or any content on this site, you agree to allow cookies to be placed. Read more in our privacy policy.
Get the news faster.
Tap to install our app.
X
Install the Newser News app
in two easy steps:
1. Tap in your navigation bar.
2. Tap to Add to Home Screen.

X

Certainly!

Title:

Content: news _ header _ top _ 970 _ 100
Bulat Gilvanov: “Our elite buys paintings somewhere in Monaco ”
“I am disappointed in the idea that culture can be promoted in contact with the national elite.
In order for this trend to change, some tectonic changes must occur, ” says artist Bulat Gilvanov.
He spoke about the lack of Tatar visualization in Kazan, feminism, the Tatar imperial concept and many other things in an interview with Tatar-Inform.
Bulat Gilvanov: “We have a creative potential and a powerful legacy.
But the elites don ’ t know what to do about it. ”
Photo: © Ramil Gali / Tatar-inform
“Even Namdakov quite superficially revealed the topic ”
- Bulat, we would like to talk to you about the Tatar culture through the eyes of a representative of the urban Tatar intelligentsia.
So let ’ s start with specific city stories.
Many Kazan residents and tourists have an opinion that Kazan lacks a Tatar visual.
Do you agree?
And how can this be corrected taking into account, perhaps, the Soviet experience, when various paintings, smalt panels on national themes were popular?
- I agree, such a visualization in Kazan is not enough.
I would like to have a feeling that this is the capital of Tatarstan.
We ourselves declare this, we want to broadcast our national culture as widely as possible both in space and in time, that is, in the future.
In the guise of the Kazan Kremlin, this task was solved, otherwise we see the standard style of modern architecture for many cities.
I don't even know what to call it... post-industrial, I guess.
This, of course, is beautiful and spectacular, I myself like this constructive beginning - glass, graphic lines.
On the facades of sports facilities, shopping malls there is often some interesting decorative solution.
- Do you mean this literalism, when, for example, a tennis racket sticks out from the facade of the Tennis Center?
- Yeah, including that.
That is, there are such things, but I do not remember that there was a national moment in them.
Apparently, there is no understanding that the architectural solution of facades and silhouettes can be revealed with a national bias.
Well, such a task for architects, most likely, is not set.
I do not know who is doing all this, probably Moscow, and until recently European architects.
Perhaps, and therefore, national in these projects is not enough.
- As, say, in the projects of the same Dashi Namdakov.
"Natsmena", but also not a Tatar.
- It's the same story.
Dashi Namdakov is an absolutely wonderful artist, I like him very much, but it can be seen that he did not immerse himself in the topic.
I mean, he does what he does, that's all.
Are you talking about “The Cup ” and the sculptures around it?
- And about the sculpture "Karakuz", installed in Almetyevsk.
It's the theme of the warrior girl that I've been promoting all my life.
This image eventually took a strong place in the national consciousness.
Indeed, there is in the legends such a character - Karakuz, this is an associate of Altynchech.
The sculpture is also beautiful, but again it can be seen that there was no study of the Bulgarian costume - military, national.
Still, I ’ m all for it, she ’ s, again, beautiful, and the topic is right.
However, as you can see, even Namdakov quite superficially revealed the topic.
The cup is the same.
The same dragons and leopards originate from the ancient Turkic animal style, but even this style here, on the Volga, differed from, for example, Siberian.
Was it less aggressive?
- Yes.
Remember the story of Namdakov ’ s “Guardian ”.
Why did it happen?
The sculpture itself is simply gorgeous, but there was an instruction to increase it.
The author increased it, and it became creepy.
Size does matter, though.
The artistic image in a monumental form and in the form of a small statuette is perceived differently.
“I do not see a gap between the Volga Bulgars and modern Tatars ”
- You mentioned the female warriors, and indeed, the appeal to the female image for some reason in the form of valkyrie seemed to have become a common place in the Tatar fine arts.
What does this have to do with it
I often think about it myself.
Is it necessary to promote it, is it not something...
- Artificially?
Not artificial, but harmful.
Just now feminism, which we all once welcomed, is taking on extreme forms, and it can turn into something bad.
Do you want a connotation with feminism?
- No, I wouldn't.
Of course, it is impossible to be against the movement for equality and social equality of the sexes.
But there are physical differences, there are traditions, and they arose for a reason.
They make sense just for the survival of the human race.
- So your warriors - what are they?
Feminine?
- Oh, yeah.
Some even reproach me - she can not, they say, the girl to hold such a weapon, it is unbearable for her.
I just had that task.
At least, I saw these legends through a certain contrast, dissonance: here are warm, fragile girls who are completely unaccustomed to war, and now they are forced to take up cold weapons and stand up for the defense of the Motherland.
The image of sacrifice intensifies, and the feat becomes doubly special.
That is, there is an additional tragedy, an additional conflict.
Let us now turn to your obvious sympathy for the Bulgarian subject.
I noticed that the interest in it, as well as the tendency to identify with the Bulgars, is common among the creative intelligentsia.
Historians have a different opinion.
What do you conditionally answer to a historian who tells you that the Tatars are the heirs not so much of Volga Bulgaria as of other historical periods?
- I have studied this issue and do not see a gap between the Volga Bulgars and modern Tatars.
We speak the same language, we live on the same land, we celebrate the same holidays.
Nardugan, Karga Botkasy, Kaz Omase and Sabantuy are all pre-Islamic Bulgarian holidays, there is no Mongolian component.
In Kul Gali ’ s poem “The Tale of Yusuf ” the same language, some parts of it in the original are even more natural and understandable than the modern literary translation.
Kul Gali wrote before the Mongol conquest in his native language.
Are you sure it ’ s a Bulgarian language?
- Of course.
I don't think the scribes wrote anything in another language.
Some manuscripts indicate that there are two editions of the poem - 1212 and 1233.
Perhaps in 1233, Kul Gali supplemented and processed it.
In any case, he was an eyewitness to six campaigns of the Mongols on Volga Bulgaria until 1236, when it fell.
By the way, I have such an illustration in one of the books.
Here (shows): the author writes that this was composed by the weak servant of God Ghali in such and such a year, in each line he put 22 syllables.
Here is the Bulgarian city, here is Idel, here are the Mongol warriors who are already knocking at the gate.
There is an assumption that Kul Gali died during the Mongol pogrom in Bilar.
Our language has not changed.
As well as our self-consciousness, way of life, basic activities.
The famous historian and archaeologist Alfred Khalikov in private conversations was unequivocally for the Bulgarian version.
“The Russians have a strong association of the Horde with evil, existential threat ”
But these conclusions he voiced in that period, which can be called Tatar historical romanticism and which is long over.
- Yeah, but it's not just Khalikov.
Even at the beginning of the 20th century, when our people were still self-determining, Bulgarism was considered as the main version.
In addition, there is no such potential for confrontation in Bulgarism as in Tatarism.
The Bulgars have been living together with the Russians since the time of Kievan Rus, this state was built and defended by the Slavic and Turkic peoples together.
Berendeys, Kovuys, Torks are all Bulgarian subethnic groups.
Khan Kubrat founded ancient Russian cities, including, according to some sources, and Kiev.
And especially Poltava, where his bet was.
That is, we have coexisted with the Russians throughout their history.
At the same time, the Russians have a strong association of the Horde with evil, an existential threat.
So the Tatar imperial concept is ultimately destructive.
The Russians and I will continue to live together.
The ideologists of Tatarism present bulgarism as an idea that aims at stripping the Tatar people, at its division, but in fact it, if you look at it, has a collective beginning.
I think that the surviving Volga peoples would well accept the Bulgarian idea of   joint existence.
Because, apparently, there was something in the Bulgarian tradition and in the Bulgarian state, which allowed these peoples to survive and live to this day.
– Do you think the Tatars will return to the Bulgarian project?
- I hope so.
It seems to me that our people have yet to make a choice in the future.
– Do you feel that the number of supporters of your concept has increased or decreased over time?
- I think they're getting smaller.
At least in the 1990s, the Bulgarian movement was much more powerful.
All the movements were more powerful.
- Oh, yeah.
If then a referendum on renaming was announced and there was some discussion in the media, thanks to which ordinary citizens would simply think - usually they still live their lives, I do not exclude that they would vote for renaming the TASSR in the Bulgarian Republic.
– When you are called a Tatar artist, it does not cause internal protest?
- No, I am calm about it, maybe even ironic.
I do not lead such a confrontational line as some people in the Bulgarian movement, who rigidly separate themselves from the Tatars and conflict.
“They buy a painting in Monaco for a lot of money to show off at their party ”
A few years ago you said that the art market in Tatarstan is undeveloped.
Has anything changed during this time?
- There are positive aspects, but in general, the trend continues.
There is no stable community in which, say, collectors who know artists work.
Everything happens quite casually.
Paintings are usually bought either on occasion - as a gift, or spontaneously, simply because the thing liked.
There is no such thing as a buyer to study which artists we have and what is worth buying and what is not.
Although it is not difficult to find information now, everything is on the Internet.
It is not necessary to communicate directly with artists, experts or read reference books.
However, this is not the case.
Maybe the Tatarstan elite is interested in our art, understands it?
For the vast majority, probably not.
I am deeply disappointed about this.
Maybe that ’ s why I moved away from exhibitions and projects, from all this movement.
What exactly is the disappointment?
- The idea that culture can be promoted in contact with the national elite.
If something happens to her, it happens as a result.
Roughly speaking, he went somewhere in Monaco, saw something there, he liked it, and he wants the same.
“Do me the same. ”
Or he ’ s lucky right there to show off in his party: here, he took a picture in Monaco, paid a lot of money.
How to change this trend, I don ’ t know.
Apparently, there must be some tectonic changes, something must move in the heads, in public relations.
Because we have creative potential and a powerful legacy, but there is no understanding among the elites of what to do about it and whether there is any benefit in it.
Maybe it just needs to change a generation?
Their children are different, it's a story about a 300-year-old lawn.
- I am not sure, by the way, that if their children studied conditionally in England, they will come with something else in their head.
Well, maybe on rare occasions.
I don't think that's the solution.
I don't know what the solution is.
They should have the understanding that they draw their wealth and power from a national source and that it is a guarantee of the preservation of all this.
But there is no such understanding yet.
So I just stick around and do what I have to do, and whatever happens (laughs).
Let it be unprofitable.
Have businessmen or officials ever bought your paintings?
- Officials do not, and businessmen, although very rarely, bought.
Tatars are a rare case.
Although, in theory, the paintings of our artists can be approached purely utilitarian, decorating their premises and offices.
This is good for business, for the future, and artists will be able to survive and do something else.
There will be a rich field of national culture, it will become denser, better.
At the very top of this understanding, perhaps, there is.
Mintimer Sharipovich is noticeable, if not admiration, then at least respect for art.
Apparently, he somehow sees and feels this beauty, understands its value.
It was the same namdakova he took.
This is either an innate understanding, or it comes from the fact that in Soviet times, art was presented as a really valuable and sublime thing.
“I don ’ t think that the Tatar culture is hermetic ”
Let ’ s move on to the Tatar culture as a whole.
There is an opinion that it is quite hermetic.
- You mean self-obsessed?
Ah, yes.
And that it has no connection with the world cultural context.
Can you say that about painting?
- No.
In general, I do not believe that the Tatar culture is hermetic.
We had a very powerful Jadidic movement that kind of released our culture into the world.
Many even criticize him for this, because such a step, in their opinion, pushed the Tatars to assimilate.
No, our culture, including the visual arts, reacts quickly enough to the global context.
Is there contemporary art in Tatar painting?
Is there any activism there?
- I won ’ t say about actionism, but there is modern art.
There is, for example, Tatar ethno-futurism.
His study, as well as the study of the Tatar avant-garde, was carried out by Yulduz Galimzyanovna Nigmatullina.
She published the book “Late Modernism in Tatar Literature and Fine Arts ”.
This phenomenon is explained there, modern Tatar artists are considered in the context of world art.
But modernism is still late.
What artists are we talking about?
- About modern us, about my acquaintances.
Basically, there is about the Tamga group, which was engaged in the development of the national language.
It consisted of Magyar Khaziyev, Khamza Sharipov, Riyat Mukhametdinov, me.
Kostyak Chelninsky, although there were Ufa artists.
Recently, we do not exhibit, but at one time we actively exhibited and participated in various projects.
All these artists are now alive and well, working outside the group, independently.
In general, we had quite a strong movement at the time.
And there are good, original artists now, including in Kazan.
A bright representative is Ilgizar Khasanov.
A beautiful modern artist, a modernist with a national foundation.
You're friends with Alfrid Shaimardanov, aren't you?
- Yes, at one time and worked in the same workshop, and lived together.
Is it true that artists don ’ t consider him an artist?
That ’ s what he says (laughs).
He is an artist, of course.
When considering his candidacy for the Union of Artists, voted in favor, although there were those who spoke of his "amateur".
Well, he's a real nugget.
It is believed that Bucky Urmanche was very strong as a sculptor, but as a painter he is overrated.
What do you think of that?
- Yes, no, he is a really gorgeous, very versatile artist.
He is recognized both as a classic of the realistic school, and as the creator of an original national language.
And his painting is the most beautiful.
It is painting as such, that is, the interaction of warm and cold colors.
This interaction is like music, it is very difficult to achieve it in painting.
Here is the actual music gets directly into the heart, a person immediately understands it and perceives it, but with painting it is not so.
To achieve music, an artist needs to develop this skill.
“In my youth I thought: I have everything accurately conveyed in the picture, why is there no musicality and beauty? ”
How did it go to you?
- It's very hard.
I finally understood this music quite late.
Even in school I felt that I had a misunderstanding of painting.
I perceived color only as a certain characteristic of the object, as something that needs to be conveyed accurately and realistically.
And the understanding that this is the same “wavelength ” that beats directly into the heart came much later, with practice.
Some people, especially women, get it right away.
We had girls in school who felt painting.
I ’ ve seen them do things differently.
Seems crooked, but beautiful.
And I thought: I have everything accurately conveyed in the picture, why is there no musicality and beauty?
On the subject of female artists.
My daughter entered an art school this year, and as a father, I would like to understand where a young artist can go to work today to feel normal.
I will offer you options, and you will evaluate them.
All right?
The first, the most obvious: to paint paintings and sell them yourself at online auctions.
- Yes, an option.
The second is to offer your services in the cinema as a production designer.
- In principle, the cinema is now being filmed in Tatarstan.
I myself recently called from Tatarkino, offered to participate in their project this autumn.
But I apologized and refused – I did not have time.
I was involved in several film projects and it was interesting.
So that ’ s also an option.
The only thing is, we don ’ t have a lot of movies.
But it is a specific thing.
But you can go to Moscow and get involved in the work, for example, as a decorator, learn all this cuisine and only then pretend to be a production designer.
Or start as a costume designer.
- Yeah, that's it.
There are a lot of theatres in Kazan.
Another option is to draw manga.
Can we monetize it somehow?
- I think so.
Publish in the form of books or monetize via the Internet.
I guess it's possible.
And the last option is to paint urban objects, including private ones.
- Of course.
Listen to you, it turns out like a chocolate story.
I mean, the young artist is all right with perspective, right?
- Yes.
There are other options.
You can do animation.
Maybe there will be something related to the Internet.
However, there is a question with artificial intelligence, those who are engaged in it can take out design orders.
But, I think, only purely utilitarian.
No artificial intelligence can illustrate a book as thoughtfully, artistically, and beautifully as a human being.
To do this, you need to live your human life, use the human experience, your sense of the culture to which the writer belongs.
A relative of mine recently told me about artificial intelligence and said that soon I will be out of work.
I was scared at first, and then I thought and realized that he should think about it.
Because writing programs and applications to artificial intelligence is much easier.
Gilvanov Bulat Alfirovich is an artist, a member of the Union of Artists of Russia.
Born in 1972 in Elabuga.
He graduated from the art department of the Naberezhnye Chelny School of Arts, the graphic faculty of the St. Petersburg State Academic Institute of Painting, Sculpture and Architecture named after I.E.Repin.
Laureate of the State Prize of the Republic of Tatarstan named after M. Jalil.
In 1999 – 2001 – teacher of the Department of Fine Arts of Naberezhnye Chelny State Pedagogical Institute, in 2001 – 2005 – artist-trainee of the creative workshop of the Russian Academy of Arts in Kazan.
In 2011 – 2014 – lecturer at the Kazan branch of the Moscow State Academic Institute of Painting, Sculpture and Architecture named after V.I. Surikov, in 2012 – 2018 – assistant at the creative workshop of painting of the Russian Academy of Arts in Kazan.
Since 2018, he has been a freelance artist.
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Here is an extraction of the **key sentences** from your text, carefully selected according to your specific information request about **vandalism acts targeting the Little Mermaid statue in Copenhagen**.

The sentences below are the only ones from the given text that directly contain or suggest any information about intentional damage, statues, or acts of vandalism, and all are extracted for their informational value relevant to the sociological and psychological study of such cases:

---

- “By the middle of this year, we are almost at the point of just 2022 in terms of the number of acts of vandalism."

Title:

Content: Right now
+ 20 ˚ C
Now in St. Petersburg
+ 20 ˚ C
Cloudy, No precipitation
Feels like 18.
4 m / s, zap
751mm
57%
Read more
Traffic jams
5 / 10
Rituals on graves and lost gilding.
St. Petersburg museum workers about the growth of vandalism
1274
Valentin Egorshin / Fontanka.ru
The Museum of Urban Sculpture is sounding the alarm: in St. Petersburg, the level of vandalism is growing.
Experts ask citizens and tourists to save the budget money and stop picking priests sphinxes.
And yet not to remove the gilding from the monuments, because to sell it still will not work.
The sphinxes from the Egyptian bridge were returned from restoration only in December 2022.
The restoration work lasted more than three months.
The sculptures were cleaned, treated from corrosion, gilded parts and painted in the color of oxidized bronze.
All the splendor cost almost 5 million rubles.
For restoration, by the way, the price is not surprising.
As Nadezhda Efremova, a senior researcher at the Museum of Urban Sculpture and curator of the collection of monuments, explained to Fontanka, in such matters, in any case, we are talking about millions.
Repeat the whole process was planned no earlier than ten years later, but in June, damage was noticed on one of the sphinxes.
The cover moved away from the sculpture exactly near the fifth point.
The Museum of Urban Sculpture concluded that the character of the chip is mechanical: “We will not take it to say what exactly they (damage. – Approx. ed.) were inflicted.
A shoe, a hand, anything.
Unfortunately, the pedestals are low, there is a lot of transport and people there.
These sphinxes are among the most “affected. ”
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The victim was promised to patch up before the end of the summer - this is the deadline for the end of the restoration season.
For this, you will most likely have to request additional funding.
As it usually happens in state organizations, the budget in the Museum of Urban Sculpture is drawn up immediately for a year in advance.
The hole on the cover of the monument, as the photographer of “Fontanka ” was convinced, meanwhile, is expanding.
By August, it will certainly increase in size.
By the way, the neighbor of the sphinx on the other bank of the Fontanka also had time to suffer: he had chips closer to his back.
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“By the middle of this year, we are almost at the point of just 2022 in terms of the number of acts of vandalism.
Last year there were 32 of them, this year there are already 22, ” the press service of the museum says.
The statistics included cases with graffiti, traces of paint, scratches and other damage to the paint layer.
The curator of the collection Nadezhda Efremova laments that in St. Petersburg there is no longer that reverent attitude to the monuments, which helped to preserve them to the present day: “The war began on June 22 [1941], and on June 25 the museum has already received a directive on the urgent shelter of monuments in the city.
All employees of the museum received instructions where to go to get the necessary building materials.
And the Bronze Horseman?
Since the time of Alexander I, the legend has been preserved that as long as he stands in his place, no enemy soldiers will enter the city.
During the historical excursion, the employee recalls Klodt ’ s horses on the Anichkov Bridge: “For many citizens, the end of the war was marked by the fact that on June 2, 1945, the horses returned to the Anichkov Bridge.
Then people finally realized that the war was over. ”
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In December 2022, not only the sphinxes from the Egyptian bridge were returned from the restoration, but also the lions that stand on the Admiralty Embankment.
From the side of this can not be seen, but the back of one of them after six months has already been pierced.
“They give the impression of such powerful lions, but in fact they are very fragile.
Inside the lions are hollow and have no supports.
Pushed copper, from which they are made, in thickness from 3 to 5 millimeters.
Almost like a piece of paper, ” explains Nadezhda Efremova.
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The damage was discovered after the "Scarlet Sails".
Experts believe that the lion could have been pierced by accident.
For example, a bottle or some other object.
But graffiti, for example, can not be written off on the will of chance.
Most often, inscriptions appear on pedestals that are easy to reach.
Special anti-vandal coatings do not always save: the matter is in the characteristics of the material.
The pedestal of the same Klodt horses is made of forged granite, which is distinguished by small notches.
As a result, the paint is clogged in the pores of the stone and can be removed only with a special compressor and after many hours of work.
It is no coincidence that the disappearance of gold.
According to experts, it is cleaned in the hope of reselling.
Disappointment awaits the vandals immediately: “Gold leaf is thinner than a human hair.
It turns into chips, rubbish.
For what?
Completely senseless act.
The naked surface is not protected, so the monument is again waiting for restoration.
We don't have much choice.
We have to do something — or watch the monuments being destroyed before our eyes. ”
A separate pain of museum workers is rubbing the protruding parts of the sculptures “for luck ”.
Rubbed to shine noses and shoes are both thinning of the metal, and the loss of author ’ s study.
The curator of the collection explains that such a sign eventually leads to the destruction of monuments: “The most reliable protection of metal is natural patina (a coating that is formed under the influence of the natural environment and is able to protect the author ’ s metal. – Approx. ed.).
When it is removed, acid rain, guano, and other contaminants fall on this bright area.
And the metal itself can not protect itself, the surface begins to corrode, corrosion processes develop. ”
Such monuments are also restored, but on the sculptures especially beloved by tourists, the artificial patina can disappear in a few hours.
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Rubbed for luck sculptures are found even in protected areas.
For example, in the Necropolis of Masters of Arts, which is also part of the Museum of Urban Sculpture.
Especially visitors love the leg of an angel at the burial of Pyotr Tchaikovsky.
Head of the department of memorial sculpture Daria Zaleshina says that rubbing the leg began only in 2019.
This is probably due to a new urban legend.
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Fans of mysticism here in general and pulls: the jewelry on some tombstone thrown, the photo with burned eyes will leave.
As the guardian of the necropolis suggests, all these artifacts are associated with certain rituals.
The trend for magic emerged after the series “Battle of psychics ”, filmed in the museum secretly.
However, the findings, although terrible, do not harm the exhibits.
At least nothing needs to be restored.
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- "From the side of this can not be seen, but the back of one of them after six months has already been pierced."

- "For example, in the Necropolis of Masters of Arts, which is also part of the Museum of Urban Sculpture."

- "This is probably due to a new urban legend.”
- “Today, a criminal case was opened against the guard under the article “Vandalism”.”
- "Picture of the day"
- "It is most difficult to sculpt a face”: a resident of Chernyakhovsk decorates the city with snow sculptures."

Title:

Content: Society28 January 2022 13: 05
“It is most difficult to sculpt a face ”: a resident of Chernyakhovsk decorates the city with snow sculptures
Alexander Yuzvovich works on each figure for several hours
The now famous harmonist recently had a girlfriend.
Photo: Provided by the hero of the publication.
Alexander Yuzvovich in Chernyakhovsk knows everything.
Even if not himself, it is certainly his work of art.
There is no other way to name the sculptures that he sculpts from the snow.
The most famous sculpture can be considered a snow harmonist.
- Actually, I play the guitar myself.
Alas, I don ’ t know how to harmonise.
But I love listening to accordion or accordion.
Therefore, all my snowmen play harmonies, ” the sculptor explains to Komsomolka.
Alexander is 67 years old.
Since childhood, he has been fascinated by creativity.
At one time he graduated from the art school in Chernyakhovsk.
But the love of snow sculptures was born relatively recently.
A few years ago I tried to make the first Snow Maiden - it turned out.
After the recent snowfall, Alexander again created several masterpieces.
He dazzled his "friend" - the harmonist.
Worked on him for hours.
What a disappointment when the next day the author saw that his creation was destroyed.
Some scumbag smashed a snow sculpture, and his friend filmed it on video.
The video got into social networks, the vandal residents of Chernyakhovsk condemned.
Alexander though upset, but a day later restored the harmonist.
And the next day he blinded his friend.
- When I sculpt, it's like I'm going back to my childhood.
Creativity is always exciting.
To paint, to sculpt or to photograph – that ’ s all I love.
It prolongs my life.
I spend a lot of time on figures.
After all, it is not easy to make a “living ” face out of snow so that it looks like a person ’ s face.
It is important for me to convey emotion.
So sometimes I redo the face several times, ” says Alexander.
And to the fact that his sculptures are broken, he now treats philosophically.
Says, they say, vandal is not the first year and any creator is always a destroyer.
That's sad, of course.
Now the master is trying to make snow figures in the yard of his own house so that there is supervision.

- "And to the fact that his sculptures are broken, he now treats philosophically."

Title:

Content: Society28 January 2022 13: 05
“It is most difficult to sculpt a face ”: a resident of Chernyakhovsk decorates the city with snow sculptures
Alexander Yuzvovich works on each figure for several hours
The now famous harmonist recently had a girlfriend.
Photo: Provided by the hero of the publication.
Alexander Yuzvovich in Chernyakhovsk knows everything.
Even if not himself, it is certainly his work of art.
There is no other way to name the sculptures that he sculpts from the snow.
The most famous sculpture can be considered a snow harmonist.
- Actually, I play the guitar myself.
Alas, I don ’ t know how to harmonise.
But I love listening to accordion or accordion.
Therefore, all my snowmen play harmonies, ” the sculptor explains to Komsomolka.
Alexander is 67 years old.
Since childhood, he has been fascinated by creativity.
At one time he graduated from the art school in Chernyakhovsk.
But the love of snow sculptures was born relatively recently.
A few years ago I tried to make the first Snow Maiden - it turned out.
After the recent snowfall, Alexander again created several masterpieces.
He dazzled his "friend" - the harmonist.
Worked on him for hours.
What a disappointment when the next day the author saw that his creation was destroyed.
Some scumbag smashed a snow sculpture, and his friend filmed it on video.
The video got into social networks, the vandal residents of Chernyakhovsk condemned.
Alexander though upset, but a day later restored the harmonist.
And the next day he blinded his friend.
- When I sculpt, it's like I'm going back to my childhood.
Creativity is always exciting.
To paint, to sculpt or to photograph – that ’ s all I love.
It prolongs my life.
I spend a lot of time on figures.
After all, it is not easy to make a “living ” face out of snow so that it looks like a person ’ s face.
It is important for me to convey emotion.
So sometimes I redo the face several times, ” says Alexander.
And to the fact that his sculptures are broken, he now treats philosophically.
Says, they say, vandal is not the first year and any creator is always a destroyer.
That's sad, of course.
Now the master is trying to make snow figures in the yard of his own house so that there is supervision.

---

**Note:**
The provided text does not contain any specific information about the repeated intentional damages that the Little Mermaid statue in Copenhagen experienced, such as dates, details of the damages, identified perpetrators, or the stories behind each incident.

Instead, it discusses vandalism in more general or unrelated contexts (e.g., other works of art, urban legends, attitudes toward sculpture vandalism).

If you have a text specifically focused on the Little Mermaid, or wish for a researched report on that topic, please let me know and I can provide detailed information with full referencing on all major incidents involving the statue.

Certainly!

Title:

Content: Dear reader, if you are walking in your car, then you find “bandits ” who stood in front of you, slept in front of the wheels and prevented you and prevented people from passing, or if you are in a museum and surprised by a group of people destroying and breaking art paintings or painting the exhibits in orange...
Don't think you're in front of an armed terrorist group.
These people are often “environmental activists. ”
Environmental activists seek to make a positive impact on the planet and the environment, but not through planting trees, but through the easiest way to balance from their point of view: to subvert art, paint and destroy monuments and artifacts and disrupt the movement of people in the streets, in order to balance the economy and the environment.
This may sound crazy dear reader, and remind you of the story of the sieve who criticized a needle because it has a hole!
But this is the view presented in the market of environmental struggle...
Either you accept it or you are not deep enough!
When art becomes a victim of the green struggle, there is no doubt that we are faced with a dilemma similar to the dilemma of having a preacher on a beach, wearing a green shorts, to preach to the redhead blonde with the red bikini...
Either way, you are faced with a mystery of modern civilization.
The article would have stopped here, but I finally got to know a critical school of fiction and art that not only analyzes texts, words and drawings, but evaluates works of art based on their environmental impact, meaning that a painting painted by your favorite artist may be guilty of polluting the environment, and you, him and the museum should be held accountable for that.
As environmental criticism intensifies, environmental literary critics emerge — as if the morgue is missing bodies — and many wonder if art and environmental criticism can coexist peacefully.
Can we find a way to make art more sustainable and environmental without the need for subversive works?
In the end, the aim of this article is not to make environmental criticism a mockery, but to question the actual solutions to environmental problems, rather than to direct efforts towards art subversion.
Is this the right path to change?
Or does environmental criticism need to rethink its strategies?
Environmental criticism may have come up with a noble idea, but the way it is applied is so controversial and ironic, we can use art as a means to spread environmental awareness and promote sustainability.
Ultimately, art and environmental criticism must coexist peacefully, as both seek a better and more sustainable future.
Anything that does not mention God ’ s name.
Amputation.
A short story:
Why did you steal the painting from the museum?
Preserving the environment, sir.
Preserving the environment...
How? How?
Thief: It has artificial colors that pollute the environment, and its stools are cut from a tree that was cut last month...
I wanted to send a message to the world that art that does not respect the environment must be removed.
Officer: Greetings to your brain Balanat, O Sea of Science, O Sea of Concept, O Philosopher of Donkeys!
@ moh1alatwn @

Based on your information request about **vandalism of cultural landmarks** and the example case of the **Little Mermaid statue in Copenhagen**, I have extracted and listed the most important sentences from the provided text.

The focus is on references to acts of vandalism, the role and perception of such acts, and discussion of related narratives that would help in a **discourse analysis** of mass media treatments of vandalism toward cultural landmarks:

---
**Key Sentences Extracted:**

1.

"Dear reader, if you are walking in your car, then you find “bandits” who stood in front of you, slept in front of the wheels and prevented you and prevented people from passing, or if you are in a museum and surprised by a group of people destroying and breaking art paintings or painting the exhibits in orange..."

2.

"This may sound crazy dear reader, and remind you of the story of the sieve who criticized a needle because it has a hole!"

Title:

Content: Moroccan critic Habib Nasseri: Our history should not be taken from soap operas and drama should respect minds
The holy month of Ramadan witnessed the release of many dramas in Morocco, and always generate a community discussion about how dramas embody the life and reality of Moroccans. Some dramas are praised, while others are stigmatized as weak. What lens should we look through to Ramadan works, is it through the lens of artistic value or is the dramas expected to provide a cognitive, historical and valuable load? Helping to critique the mistakes of society for its development and development?
In order to understand the nature of the dramatic scene that feeds the Moroccan scene in the Ramadan time, Al Jazeera Net interviews the Moroccan film critic Dr. Habib Nasseri, a research professor specializing in film criticism, and the President of the International Documentary Film Festival in Khouribga.
• What is your assessment of Ramadan dramas in Morocco?
Is there a dramatic addition or is it mostly confined to repetition?
The question of evaluation, a question that makes us expect within the field of making judgments, such as saying that this is a good work, this is an average work, this is a weak work, etc.
In my opinion, such provisions make us not to serve our works presented in television, cinema, theater, etc.
More than this, we will fall into the trap of judgments that spread in social media, according to personal whims and attitudes, and others, even if this falls within the framework of freedom of expression, without offending, of course, any particular person ’ s position for or against a television drama.
Your question, my dear sir, is an important one, and it is possible to generate from it another question, which is, do we dissect our work into two scientific questions: What does this television drama tell?
How does this drama tell his story?
Most of us get stuck in the first question, which is, unfortunately, a factual question, through which we judge a certain dramatic action, and hence, from understanding the noise of what is going on, because the simple and ordinary receiver only understands the first question, which has limited value, while the most important question, which contributes to visual and taste education, and educates the spectator culturally and humanely, is how to tell the story of this drama. I don't know.
Here we are faced with components such as time, space, characters as art form (and not as they really are), dream, artistic vision (not vision), and the language of storytelling.
Is the work capable of interpretation, but is the work the generator of many manifestations of interpretation, etc.?
Of course, all this is conditional on the nature of the recipient, his cultural background, and the location of the image within the education system.
This is what is absent, and therefore the judgments of value, remain dominant, here and here, the limit of grappling between people, without asking deep and qualitative questions, and this is a bet that will not be achieved without making the school pay attention to the part of how any work of art tells its story?.
It is a bet that if we do not get him into school, so that the culture of visual and aesthetic awareness will contribute and consolidate, we will continue to ask the same questions whenever Ramadan comes.
It is even possible, Mr. Fadhel, to keep the same questions to ask me, or someone else, when Ramadan falls in 2025, God willing.
This can be easily observed whenever the month of Ramadan comes.
• In recent years, historical dramas have resorted to “darija ” (colloquial) instead of the standard Arabic language that we are familiar with in historical works, how do you see this turn?
And what are their effects?
What I have asked in my previous answer is very relevant to this question.
In Egypt, dear brothers and sisters, they say their famous saying: "The public wants such a thing."
Today, television and the search for “boobs ” pose more than one question to producers, especially public channels, which, in accordance with their public duty, must provide a public and cultural service that promotes the recipient – the citizen in his taste and visual culture, rather than competing with private channels in this“ booz-misery ”.
So we wonder about the historical series presented, what is the purpose of them?
Is the goal to develop the recipient ’ s historical and linguistic memory?
Or is it about getting the audience to see?
What is the nature of the historical series presented?
What's her time frame?
Is it old enough to take into account the language component?
Or is its frame contemporary to us, it is possible to "adventure" on the Moroccan bike?.
Are we in front of a single Moroccan bicycle in a homeland that extends from Tangier to Quera?
Or are we in front of a group of Moroccan dairjas (each region has its own degree born from its local social soil, including the new loads born of the new concepts of the era..?.
Those who live in the East may use a different word than those who live in the North, the South, the West, etc.?
Is it possible to bet on a middle bike that can solve the problem?
Can this be achieved outside the collective, academic and research work that can contribute to overcoming this problem?
The older generations grew up in the lap of history and classical Arabic, especially when it comes to historical series related to topics related to Andalusia (for example), or to a historical era.
But if the historical series approach popular historical themes, then it is possible to employ the Moroccan dialect that is relevant to the subject of this local popular cultural historical series.
• To remain in historical works, when any historical drama is released, some begin to shed light on what they consider to be “historical fallacies, ” does historical drama play a role in the accurate investigation of history?
And are the series a source for building a true historical background for the viewer?
The question itself depends on what was asked in the first answer.
The school, and in general, in the Arab world as a whole, and not only in Morocco, is still far from the qualitative use of the image in the construction of instructions.
It is the main reason why we have to read all the works presented in television and in cinema, from reality without reaching the stage of treating the work of art as a linguistic and artistic sign, starting from reality, but becoming independent of itself, at least while reading.
This is what makes people, institutions and individuals compare what is presented with what has happened or what is happening.
This is the work of the historian, who, when dating to a certain stage, through the document in his hands, can be asked and discussed, according to the document.
But the director or writer of television or film, or theater or novelist, has a wide margin through which he can repeat what happened historically, according to his artistic and aesthetic vision.
It is a vision that reflects what it has accumulated visually, artistically and culturally.
Hence, when we are witnessing, for example, a historical work, we should focus on the following question: How did this historical work tell us?
We should not, I think, confuse the role of the historian, the screenwriter and the director.
In order to reach this stage, we must educate the new generations on the culture of the image.
Is it possible to achieve this in societies that are still debating whether the image is halal or haram?, in an era that is the age of the image, but in an era that will become the illiterate who is unable to deconstruct the connotations of the image instead of illiteracy being the case of those who do not read or write.
How many of us are going to be in the Arab world?
• There are some works that have caused a stir, regarding what was considered by an important segment as an insult to the “men and women of education ”, do you think that television and film works should evaluate their value load? Do they affect the beliefs of the viewer?
Or do you have to pay attention to film and drama?
Here it is possible to ask, through this question, as follows: Should the work of art be independent of itself, and therefore should be analyzed as an independent sign of art by the question of "how?"
Instead of asking "why?"
Or do we have to bring reality to every work of art presented to us?
The freedom of art guarantees the operation of reality as a starting point, and then, according to what we have learned from the sciences of the curriculum, must "break" the link with this reality, and present the work to the recipient in order to receive and interpret it, according to its methodological and cultural references as a whole.
Protest here, born of the “holy ” vision of the teacher and the jurist, etc.
Does this mean that we should stay away from all professions in art?
Of course not.
The artist is free to write and direct his work, and the recipient is also free to interpret and interpret this work, but with sophisticated artistic tools away from the “real ” stampede that we have to“ forget ” even temporarily, as we pursue a work of art.
The question that must also be asked on this series, and others, is this work visually, tastefully and culturally rich, in order to generate from it many connotations, and through many readings?
Sociology, why did the teacher come up with this “vision ”?
Or isn ’ t it the school ’ s teachers?
What is the nature of the formal vision present in this work?
Does it amount to interpretation or is it a direct “report ” work far from being able to be interpreted visually, tastefully, artistically and culturally?.
We desperately need these kinds of questions, rather than individual, trade union, collective, and Facebook protests.
How can our Moroccan society, and all our Arab societies (because we are similar in the fact that the image embarrasses us) not be able to allow the arts to work on the unspoken, and make it a material to see in the mirror, to look for the arrest of what is aesthetic and deep semantics, but to deal with it as a visual body that can be dismantled according to systematic, critical, scientific, humanistic and research visions?
• While a significant segment of Moroccans criticize a large number of comedies, some independent comedies (which do not pass on public television) have received high praise, is this praise due to the series ’ discussion of bold topics?
Personally, as a researcher of certain arts, in general, and in the image in particular, I don ’ t get along with quantity.
And if quantum is to be studied and analyzed according to multiple methodological visions, and according to multiple human sciences, such as sociology, psychology and others.
It is possible to find a work of art that has only been seen by a very "weak" but aesthetically pleasing proportion, has the ability to face the erasure of time, which erases many works that may achieve a high viewing rate.
What was put forward in the "Si Alcala" is a psychological outlet for the recipient through which this receiver-citizen interacted with the series, because he saw in it a aspect of a pension in reality as presented.
Here we return to the complex and difficult question, do the arts have to mimic reality as it is?
Or does it have to start from it, fly independently, but it has to establish its independent artistic and aesthetic reality that is capable of many readings?
The poet Adonis asserts that every "mass" work is a work outside the standard of art and beauty, even if his poetry is also mass poetry.
In the sense that the mass artistic work, is a work that is not useful aesthetically, creatively and regeneratively.
Source: The Island

"Why did you steal the painting from the museum?"

Title:

Content: 00: 00
Expo 2020 Dubai Today
Najat Makki in her exhibition « I write in color » is an experience that takes root in an open horizon
T + T - normal size
(Colors are the adornment of the world, and a world without colors, a dull and sad world): With this phrase, the artist Talib Damlkhi began the presentation of his book (Colors in theory and practice).
He stressed that the painter, who chooses his colors according to his innate feeling, can not control the colors, nor the painting, because the colors are subject to laws that can be studied, to benefit from its advantages, and thus to avoid its mistakes, and this is what the Emirati plastic artist Dr. Najat Makki, achieved in her latest exhibition (I write in colors) held in the hall (Aisha Alabbar) in Dubai until the end of August 2021.
A feast of colors
The exhibition includes 35 flat and anthropomorphic works, executed in acrylic and glass colors, some in the traditional form, others can be included within the concept of recycling objects used in art, and in the two treatments maintained its artistic personality, which is today one of the prominent and leading signs of contemporary Emirati formation.
In its entirety, the exhibition is a dazzling color feast, on which the artist Makki has been working since 1987, belonging to the strong and opposites phosphorous colors, which she has always sought to develop as a semantic pictorial structure, and as a masterful and thoughtful employment, in the backrest painting, and in the vacuum works, especially (art of processing), which has recently spread.
Expression by volume
The exhibition ’ s anthropomorphic works reflect Makki ’ s nostalgia for her anthropomorphic (sculpture) academic specialization, which she studied in Cairo, where she obtained her master ’ s and doctorate, and played for the benefit of photography, as a result of many considerations (this case applies to a large number of Arab artists).
These works were represented by a number of spatial formations implemented from different materials and materials, and by the works in which recycling was used such as fishing nets, carpets, rugs and curtains, which exhausted its tasks in the service of the people who had them. Which he came to.
Narratives and Stories
The recycling works were placed on the floor, on the walls, or flowed from the ceiling of the gallery, waterfalls of color putty with light, and the use of the opposite phosphorous colors in her work, increased her strong presence in the space of the hall, especially after she surrounded it in total darkness, which increased the strength of her influence on the recipient who wanted through it, put him in a deep interactive state with what came from Shagin., and psychological and physical disorder, during its completion, the impact of the shock of the spread of the Corona epidemic, which symbolized the complete darkness, and embodied the hope of getting rid of and eliminating it, a feast of colors, symbols and forms that incubate them.
Her choice of fishing nets, rugs, rugs, and curtains is due to her belief that these objects, which were referred to retirement, after fulfilling her duty to decorate and beautify houses, and to weave intimate relations with their owners, and bring her into her art, are an attempt to help her narrate her beautiful, influential, and honest stories, just like the stories of a mother to her children.
A well-established and renewed experience
A follower of the artist ’ s hard work and continuous research and experimentation Najat Makki finds that from the very beginning of this experience until now, she has provided her with a number of solid foundations and platforms, foremost of which is her aesthetic sense, which emerged from her environment and cultural loads, working hard to provide and devote data and references that correspond to this sense, and at the same time, understand what contemporary trends and technologies produce. They are new and useful, and then employ their accumulated theoretical and practical expertise, in addressing emerging issues in our troubled world.
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"I wanted to send a message to the world that art that does not respect the environment must be removed."

Title:

Content: Dear reader, if you are walking in your car, then you find “bandits ” who stood in front of you, slept in front of the wheels and prevented you and prevented people from passing, or if you are in a museum and surprised by a group of people destroying and breaking art paintings or painting the exhibits in orange...
Don't think you're in front of an armed terrorist group.
These people are often “environmental activists. ”
Environmental activists seek to make a positive impact on the planet and the environment, but not through planting trees, but through the easiest way to balance from their point of view: to subvert art, paint and destroy monuments and artifacts and disrupt the movement of people in the streets, in order to balance the economy and the environment.
This may sound crazy dear reader, and remind you of the story of the sieve who criticized a needle because it has a hole!
But this is the view presented in the market of environmental struggle...
Either you accept it or you are not deep enough!
When art becomes a victim of the green struggle, there is no doubt that we are faced with a dilemma similar to the dilemma of having a preacher on a beach, wearing a green shorts, to preach to the redhead blonde with the red bikini...
Either way, you are faced with a mystery of modern civilization.
The article would have stopped here, but I finally got to know a critical school of fiction and art that not only analyzes texts, words and drawings, but evaluates works of art based on their environmental impact, meaning that a painting painted by your favorite artist may be guilty of polluting the environment, and you, him and the museum should be held accountable for that.
As environmental criticism intensifies, environmental literary critics emerge — as if the morgue is missing bodies — and many wonder if art and environmental criticism can coexist peacefully.
Can we find a way to make art more sustainable and environmental without the need for subversive works?
In the end, the aim of this article is not to make environmental criticism a mockery, but to question the actual solutions to environmental problems, rather than to direct efforts towards art subversion.
Is this the right path to change?
Or does environmental criticism need to rethink its strategies?
Environmental criticism may have come up with a noble idea, but the way it is applied is so controversial and ironic, we can use art as a means to spread environmental awareness and promote sustainability.
Ultimately, art and environmental criticism must coexist peacefully, as both seek a better and more sustainable future.
Anything that does not mention God ’ s name.
Amputation.
A short story:
Why did you steal the painting from the museum?
Preserving the environment, sir.
Preserving the environment...
How? How?
Thief: It has artificial colors that pollute the environment, and its stools are cut from a tree that was cut last month...
I wanted to send a message to the world that art that does not respect the environment must be removed.
Officer: Greetings to your brain Balanat, O Sea of Science, O Sea of Concept, O Philosopher of Donkeys!
@ moh1alatwn @

"But the key concept in the study in generating tools and turning an animal into a human is work."

Title:

Content: Loss, House, and Tool
Design: Alaa Salama.
This short article talks about the nature of relationships between man and his environment of matter and meaning.
There are extensive theoretical debates about relativity between them.
Is culture and material an extension of man?
Or is the human environment an integrated unit, with harmonious groups of social meanings?
Or are these different social phenomena that are difficult to put into stereotyped social structures?
This article looks at some of the interpretations of man ’ s understanding of what is around him; it deals with the cultural loss, the house, the tool, which this article will try to discuss, based on authentic theoretical references in this field.
Cultural loss
Junichiro Tanizaki, in Praise of the Shadow, recounts the Japanese citizen ’ s relationship to the shadow, and disagrees with Plato that the shadow is a fake, even believing it to be the truth itself, and is one of the aesthetic aspects of Japanese culture.
The text intensifies the description in the beauty of the lights in the Japanese house, and praises them, while it considers that the extraneous things of Western modernity, ruined the aesthetic dimensions of Japanese culture, but the same writer when he built a house, built it on the Western model, and did not build it on the Japanese heritage with its dim lights.
This contradiction is not limited to ideas and behavior in the Japanese example, but we find it in our contemporary Arab societies clearly and clearly.
For example, a Qatari folk song that says, "neither the camel nor the car...
Despite this, many Qataris own the most luxurious types of cars in the world, but they are a source of pride in the Qatari society, racing to build the most luxurious residential villas, and even the tents became extinct as a residence, and became an accessory on the sidelines of the house.
It is a crisis of the relationship between local cultures and Western modernity.
The citizens of these cultures engage in the ramifications of Western modernity and embrace it in all its forms, but feel alienated and guilty by abandoning their cultures and replacing them with Western ones.
It is a crisis of the relationship between local cultures and Western modernity.
The citizens of these cultures engage in the ramifications of Western modernity and embrace it in all its forms, but they feel alienated and guilty by abandoning their cultures and replacing them with Western culture; their memories are stuck in the old diaries of their lives or the beautiful novels of their ancestors; to atone for the guilt of denying their heritage, and to cling to their local culture as slogans. Or nostalgia and emotions or writing, not action and practice.
In Freudian language, one enters into a state of melancholy, and if one tries to escape this contradiction and engage in practices of complete cultural cutting, one moves to a state of eternal mourning by masquerading the past with which there is absolutely no break.
Western modernity has not accepted the self-awareness of local cultures; those who do not conform to their conditions are considered backward or traditional.
In other words, this crisis that people experience in cultures that do not belong to Western modernity stems from the exclusion of local cultures by Western modernity, which does not even accept to participate with them, or what is called “intercultural interaction. ”
Therefore, works of art that revive popular heritage and to some extent defy the rules of late Western modernity, such as Makadi Nahas, Lina Shammayan and May Nasr, are well received by some segments of Arab societies.
This does not mean a break with modernity and a return to outdated traditions, but an explicit call to sanctify human freedom and access in postmodernism; in its language the "recognition of the different other" culturally, gendered, marginally, or whatever form and type of emancipation it may be.
Human freedom, which has never been achieved in the Arab world, is capable of building political projects and liberating the place.
The house.
In The Aesthetics of Place, Gaston Bachelard links memory, consciousness, imagination, and understanding perceptions of the world through the house in which man is raised.
Bachelard ’ s key concept is ‘ condensation ’, an extreme state of memory in which time freezes at a given moment, a high emotional energy is formed to condense at a given time, and the memory is stabilized.
This memory shapes the person ’ s personality and his understanding of the world.
Bachelard considers that this condensing of memory takes place in the first house of man, as well as that man, who lives in a multi-storey building, loses the connection to nature, loses the aesthetics of life.
The text falls within the Phenomenological method of understanding the world, which is based on the fact that the world must be read through phenomena in life; it is not based on social structures as rationalist theories go.
Therefore, the perception of the world through the senses, feelings and emotions, far from the hegemony and centrality of the mind, there is a knowledge beyond the limits of the mind that cannot be read without feelings and emotions; the human body is central in its experience of the world, and has a memory through which it knows the world.
From my personal experience, I grew up in a horizontal single-storey house with no basement.
The house contained a small “attic ” or“ shed ” to keep some household items, which I rarely go up to because of their small size, in order to arrange their things or bring items from them.
Our house is adjacent to houses that are similar in size and design; that is, they are also horizontal within a beautiful rural landscape.
In my educational life, from school to university, my view of life was that individuals were equal and not different from each other as social grades, and I did not classify myself as a class despite my emotional tendency to distance myself from wealthy individuals.
My life in a horizontal house constituted a horizontal view of understanding the world in which individuals were equal, so I was not friendly with people who gave gestures and body movements that made others feel superior to others.
My view of life was based on the romanticism of looking at human behavior and loving nature.
The home is one of the places that shapes our consciousness of the world, through our memories and our imaginations.
The tool.
The Necessity of Art, by Ernest Fisher, examines the relationship between man and tool, presenting it in the most beautiful way, by explaining that the moment that relatively developed organism learned how to use things found in nature, it was transformed into a human, and when used in this way, these things became tools.
Just as the form of the instrument exists in the unconscious of the worker who made it before the work was carried out, the worker not only makes a change in the form of natural things, but also implements in the world outside it things that existed in his mind.
But the key concept in the study in generating tools and turning an animal into a human is work.
Fisher then tackles accumulation in action through language, simulation, and magic.
Time and space have fundamental roles in man ’ s understanding of the world, and time here in the sense of the temporal phasing of its biological divisions, coupled with the social role played by man in the places where he lives.
The study is based on Marxist thought in analyzing the relationship between tools and man, focusing on the role of labor and its divisions in the process of producing meaning for things that are no longer things as long as man began to use them, they became tools; in the sense that the material environment surrounding man does not only express him, but is an extension of him, but himself.
But what happens is that this tool accumulates knowledge history and work in it, becomes part of a collective property, accumulates its forms, and becomes independent of man.
This Marxist approach is perhaps the most capable of interpreting the relationship between man and the material environment surrounding him, as it is characterized by its analysis of human imaginations, its transition to the implementation of the work of natural matter, and its transformation into a certain form, according to images linked to human experience and memory; to turn it into a tool.
Then the work of this instrument accumulates, and it spreads into human collective consciousness with a symbol that refers to it, a certain instrument of its own.
Nevertheless, the Marxist approach is unable to interpret non-work-related tools.
For example, the ‘ pacifier ’ that a child breastfeeds for the purpose of entertainment, how can its relationship with the child be interpreted when it is without work and has not been a basic need in human history?
There are other tools that can be used to entertain the child.
Its producers are not its users.
How do you explain the emergence of tools that are not directly related to the working man, as well as tools that are related to instinctive psychological, emotional and desire tendencies, with which it is true that labor accumulates, but which do not arise from labor, but relate to the nature of the human soul?
Which remains an open question for the Marxist approach?
Time and space have fundamental roles in man ’ s understanding of the world, and time is here in the sense of the temporal phasing of its biological divisions, combined with the social role that man plays in the places where he lives.
Man ’ s understanding of the world is derived from the formation of the body by the cultural factors surrounding it; this does not mean that the body – and its behavior – is captive to these factors.
The body is able to free itself from the factors that shape it, to begin to change itself, to form new worlds different from those that preceded it.
PhD student in the Department of Social Anthropology at the School of Global Studies, Sussex University, UK.
He publishes his research and articles in various Arab periodicals and platforms.

"But what happens is that this tool accumulates knowledge history and work in it, becomes part of a collective property, accumulates its forms, and becomes independent of man."

"Then the work of this instrument accumulates, and it spreads into human collective consciousness with a symbol that refers to it, a certain instrument of its own."

---

**Rationale:**
Sentences 1-4 refer explicitly to acts of vandalism (breaking, destroying, painting over, or stealing art), the media's framing ("send a message to the world"), and attempts to justify such actions (environmental motives).

Title:

Content: Dear reader, if you are walking in your car, then you find “bandits ” who stood in front of you, slept in front of the wheels and prevented you and prevented people from passing, or if you are in a museum and surprised by a group of people destroying and breaking art paintings or painting the exhibits in orange...
Don't think you're in front of an armed terrorist group.
These people are often “environmental activists. ”
Environmental activists seek to make a positive impact on the planet and the environment, but not through planting trees, but through the easiest way to balance from their point of view: to subvert art, paint and destroy monuments and artifacts and disrupt the movement of people in the streets, in order to balance the economy and the environment.
This may sound crazy dear reader, and remind you of the story of the sieve who criticized a needle because it has a hole!
But this is the view presented in the market of environmental struggle...
Either you accept it or you are not deep enough!
When art becomes a victim of the green struggle, there is no doubt that we are faced with a dilemma similar to the dilemma of having a preacher on a beach, wearing a green shorts, to preach to the redhead blonde with the red bikini...
Either way, you are faced with a mystery of modern civilization.
The article would have stopped here, but I finally got to know a critical school of fiction and art that not only analyzes texts, words and drawings, but evaluates works of art based on their environmental impact, meaning that a painting painted by your favorite artist may be guilty of polluting the environment, and you, him and the museum should be held accountable for that.
As environmental criticism intensifies, environmental literary critics emerge — as if the morgue is missing bodies — and many wonder if art and environmental criticism can coexist peacefully.
Can we find a way to make art more sustainable and environmental without the need for subversive works?
In the end, the aim of this article is not to make environmental criticism a mockery, but to question the actual solutions to environmental problems, rather than to direct efforts towards art subversion.
Is this the right path to change?
Or does environmental criticism need to rethink its strategies?
Environmental criticism may have come up with a noble idea, but the way it is applied is so controversial and ironic, we can use art as a means to spread environmental awareness and promote sustainability.
Ultimately, art and environmental criticism must coexist peacefully, as both seek a better and more sustainable future.
Anything that does not mention God ’ s name.
Amputation.
A short story:
Why did you steal the painting from the museum?
Preserving the environment, sir.
Preserving the environment...
How? How?
Thief: It has artificial colors that pollute the environment, and its stools are cut from a tree that was cut last month...
I wanted to send a message to the world that art that does not respect the environment must be removed.
Officer: Greetings to your brain Balanat, O Sea of Science, O Sea of Concept, O Philosopher of Donkeys!
@ moh1alatwn @

Sentences 5-7 reference the symbolic and collective ownership of cultural tools (statues, art) that underpin the broader sociological value of public art and its significance as a frequent vandalism target in cultural discourse.

**Note:**
The provided text does not contain a direct list of individual incidents involving the Little Mermaid statue, but the selected sentences relate to sociological and psychological motivations, media representation, justification, and the symbolism of public art—all central elements in your dissertation's theme and relevant for discourse analysis.

Title:

Content: Defense of Arts and Media
Abdul Moneim Said
Posted in: Last Updated:
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The arts and the media have been thrown into the dock whenever a calamity strikes or there is a discussion about poverty, terrorist violence, captives, overpopulation, or narrow-mindedness.
The list of accusations always ranges from negligence and negligence, to participation in the development of a violent mentality, the embellishment of sin, contempt for religion and the deterioration of morals.
And there's more.
It happens in our public life, and it ’ s never okay for these accusations to be made, while we practice watching football games that come from distant countries, or watching a movie that we don ’ t find on our media outlets, looking for it in other channels, encrypted or unencrypted.
The truth is that man cannot abandon the media or the various arts because they have jobs to do and man cannot live without them because they have become household uses and necessities of civilization.
Since man ’ s first steps began, he has taken the line of lines on the walls of caves, where he lived away from ferocious beasts and a harsh world with storms and thunders.
There was so much in nature that inspired me.
The beats of the rain were regularity, acceleration and deceleration, which ended in the sunshine and sunshine.
This scene, with its sound and image, was enough for man to begin drawing, and perhaps to begin beating of one kind or another.
But women have always been the greatest common denominator in all caves, and in times that were never easy, survival, and hence reproduction, became man ’ s most intimate thing.
Man came out of the cave in the end, and visions, sounds and symbols became the link of a human community, from which ancient civilizations were born.
All that mankind knew of civilizations was in painting and music, and from the first came statues, temples and obelisks.
From the second came symphonies, opera, romantic songs, even rock, rap and many other genres.
In between, the arts of theatre, film, television and, more recently, various forms of YouTube have been born.
Perhaps the problem that arises from all this stems from the human feeling of weak control over the tools of the arts and the media and the extent of their modern impact on human behavior.
Although one can always walk away from both, turn off the TV, or press the remote control button to leave the channel, indignation and complaint always find a refuge from personal responsibility.
During recent debates in Egypt ’ s Senate on “domestic violence, ” many lawmakers have blamed not only the public arts and available media, but also child play, which encourages violence, and foreign television networks that broadcast horror and crime films.
The perception here is that man is always a victim of various forms of temptation and pleasure that he is drawn into, and that he is a terrible moral failure.
Here the social balances disappear, which are broadcast from family, family, neighbor, friendship, schools, universities, mosques and churches.
Its basic functions are to create contraindications to various evils.
The increasing effectiveness of the arts and media is not a testimony to them because their function is to testify to the human condition, while the latter places moral responsibility on what society feeds the individual and the community.
The truth is that, in some ways, the arts have become part of identity, and with the accumulation of historical heritage and its architecture, self-perception, superiority, or withdrawal are the cause of many forms of search for artistic immortality in poems, statues, temple paintings, or opera.
The Iliad generated a lot of talk of heroism, and mythology became part of the religion, and for the most part there was a lot of chivalry and sacrifice.
The arts, including literature and all that came with imagination, were united to the nations, but they were divided between them, with epics coming from previous victories and defeats.
But within art itself there were battles, first, between what was real and what reflected reality, and what was imaginary or abstract; and second, between what was classy or lofty and what was vulgar.
The result is always a lot of disagreement, and these battles are never resolved, and often they appear in clothing, home furnishings, neighborhood planning, cities, and roads.
What has made folklore more widespread than before is that the era has become a time of social communication, where millions of people in the human community can decide what tastes they want to see or listen to — rather than who goes to the theater, cinema or even concerts.
Quote from “Today ’ s Egypt ”
Disclaimer: All published articles represent the opinion of their authors only.
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If you require a chronological factual report of Little Mermaid vandalism incidents specifically, please let me know!

Title:

Content: Dear reader, if you are walking in your car, then you find “bandits ” who stood in front of you, slept in front of the wheels and prevented you and prevented people from passing, or if you are in a museum and surprised by a group of people destroying and breaking art paintings or painting the exhibits in orange...
Don't think you're in front of an armed terrorist group.
These people are often “environmental activists. ”
Environmental activists seek to make a positive impact on the planet and the environment, but not through planting trees, but through the easiest way to balance from their point of view: to subvert art, paint and destroy monuments and artifacts and disrupt the movement of people in the streets, in order to balance the economy and the environment.
This may sound crazy dear reader, and remind you of the story of the sieve who criticized a needle because it has a hole!
But this is the view presented in the market of environmental struggle...
Either you accept it or you are not deep enough!
When art becomes a victim of the green struggle, there is no doubt that we are faced with a dilemma similar to the dilemma of having a preacher on a beach, wearing a green shorts, to preach to the redhead blonde with the red bikini...
Either way, you are faced with a mystery of modern civilization.
The article would have stopped here, but I finally got to know a critical school of fiction and art that not only analyzes texts, words and drawings, but evaluates works of art based on their environmental impact, meaning that a painting painted by your favorite artist may be guilty of polluting the environment, and you, him and the museum should be held accountable for that.
As environmental criticism intensifies, environmental literary critics emerge — as if the morgue is missing bodies — and many wonder if art and environmental criticism can coexist peacefully.
Can we find a way to make art more sustainable and environmental without the need for subversive works?
In the end, the aim of this article is not to make environmental criticism a mockery, but to question the actual solutions to environmental problems, rather than to direct efforts towards art subversion.
Is this the right path to change?
Or does environmental criticism need to rethink its strategies?
Environmental criticism may have come up with a noble idea, but the way it is applied is so controversial and ironic, we can use art as a means to spread environmental awareness and promote sustainability.
Ultimately, art and environmental criticism must coexist peacefully, as both seek a better and more sustainable future.
Anything that does not mention God ’ s name.
Amputation.
A short story:
Why did you steal the painting from the museum?
Preserving the environment, sir.
Preserving the environment...
How? How?
Thief: It has artificial colors that pollute the environment, and its stools are cut from a tree that was cut last month...
I wanted to send a message to the world that art that does not respect the environment must be removed.
Officer: Greetings to your brain Balanat, O Sea of Science, O Sea of Concept, O Philosopher of Donkeys!
@ moh1alatwn @

**Key sentences extracted from the text based on importance to your information request (intentional damage, acts of vandalism, when they happened, the nature of damage, motives and context):**

1.

Title:

Content: The Immovable King at the Metropolitan Museum of the United States
When we see a “statue ” in a museum, who decides whether it is a“ Buddha statue ” or a “sculpture ”?
If a person does not understand Buddhism, can he or she not appreciate Buddhist art? If he or she also “appreciates ” Buddhist art, what does he or she appreciate?
Wu Peirong
The Metropolitan of Art may be a must-visit place for travelers to New York, but will you go there to admire Buddhist works of art? This short article is not about a particular work, but I want to think about some questions with readers.
The first question is, when we see a “statue ” in a museum, who decides whether it is a“ Buddha statue ” or a “sculpture ”? Second, if someone does not understand Buddhism, can not appreciate Buddhist art? If this person also“ appreciates ” Buddhist art, what does he appreciate? Is there a different way to see Buddhist art?
King of the Immovable Ming statue, 12th century, 162 cm high, Metropolitan Museum.
I would like to invite you to watch a 2-minute video on the Internet. The link is as follows: https: / / 82nd and-fifth.metmuseum.org / stubborn
You can also find the official website of the Metropolitan Museum of America, and then search for the 82nd and Fifth series of short films, number 59.
The big title of the film is stubborn, stubborn, illustrated by Sinéad Vilbar and photographed by Paul Lachenauer.
The video also has a subtitle, "FudõMyõõões (Achala-vidyãrãja), Heian Period, 12th century, Japan".
For English or Chinese readers, this sign is not easy to understand: FudõMyõö, the Japanese pronunciation of “Immovable King ”, o The sign above means to make a long sound, Achala-vidyãrãja is the Sanskrit name, Heian Period is the Heian period (794-1185), the Heian period is long, and the museum believes it can be more clearly marked as the 12th century. Works of Japan.
The Metropolitan Museum of America Immovable King Statue. The 82nd and fifth series of short films Stubborn / Sinéad Vilbar 00: 20.
The Metropolitan Museum of the United States Immovable King Statue. The 82nd and fifth series of short films Stubborn / Sinéad Vilbar 01: 22.
If you watch this two-minute video, you may feel that the narration of the video is easier to understand than the small label.
It is roughly summarized as follows: The statue is called Fudõ, meaning immovable.
It seems rather intimidating / intimidating, but still attractive to you.
Although strong, the rounded belly makes the statue somewhat like a stubborn five-year-old. The squint eyes and protruding fangs make it quiet.
Monasteries dedicated to such deities perform a ritual of burning things to remove uncleanness.
The sword he held was used to cut loose objects, and the rope was used to capture people who obstructed Buddhism, which may also refer to the internal battle of the individual.
Try to meditate on this statue and feel the tension and stability of the statue ’ s body.
I like to imagine that I am among the elements of this statue and have experienced the past of the Jiupin Temple where this statue was originally located (the temple no longer exists).
Between where he stood and where I stood, everything that had gone through seemed to still exist.
For the sake of discussion, I have reluctantly made the above summary.
There are subtitles available for the narration of the film, but the subtitles in English, Chinese, and Japanese are subtly different.
The narrator uses a lot of colloquial expressions in English, while Chinese and Japanese subtitles choose more elegant words.
As a Chinese reader, how do you feel about this video?
If you ’ ve ever been in contact with Buddhist art, would you agree with this presentation?
Perhaps at first, I thought that the narrator was just saying it casually, but think about it carefully, she mentioned the history of iconography, style, and image! Although she did not introduce a certain Buddhist classic, "holding a sharp sword in the right hand, holding a Zen rope in the left hand, and making a decision and worrying posture", she did explain the characteristics of the object in oral language.
When I heard her say cut right through the crap, I was stunned, after all, cut the crap is a slightly vulgar expression.
Curiously, I turned to the Chinese subtitle, and the screen said, “Cut the redundancy. ”
Well, people who write in Chinese can be a little relieved.
In addition, the narrator said that the ritual of burning things to remove uncleanness is "protection".
If you look up Wikipedia, you will improve your understanding. Well, you may also be puzzled by the fact that there are too many proper terms on the wiki.
From my own observation, whether it is in Chinese or Japanese to introduce Buddhist art, the professional language is used a lot, but the introduction of English writing seems to have a deliberate tendency to avoid.
As a teacher who teaches the history of Japanese art in a university, a relatively small percentage of the students I meet are interested in Buddhist art from the beginning.
At the beginning of the first class, I will send out the syllabus and make it clear that this class has a high proportion of works related to Buddhist art, after all, this is the main content of ancient Japanese art.
I can see some students getting a little disappointed.
Next, I will choose to show some short films from European and American museums, such as this one, and remind that the way to see Buddhist art may not be the same as they expected.
At the end of the semester, many students said that the class changed their views.
Some students feel that they did not want to see works related to Buddhist art before, always feel that it is a very specialized field, young people are not easy to resonate, but after a semester of classes, the variety of viewing methods increased their willingness to see Buddha statues.
However, some students are still not used to it, and feel that it is strange to use general language to analyze the characteristics of Buddha statues.
# metkids explore the map.
Explore the map of the Ming dynasty.
For children, how can they “appreciate ” Buddhist art? This statue of King Ming is one of the“ main ” works of the Metropolitan Museum, and has also appeared in the # metkids website designed for children.
Use explore the map to find childlike sketches.
In this large image, some of the works with dots can be further clicked to see the original photos and other introductory materials.
Click on watch to see a short video created by the children themselves, inspired by the statue of the Immovable King (# MetKids — Animation Inspired by Guardians and a Japanese Protector).
# MetKids — Animation Inspired by Guardians and a Japanese Protector 01: 07.
A short film of about 2 minutes, first this picture of the 12th century immovable Ming king, followed by a short drama similar to a cartoon.
In my master ’ s class, I discussed this short film with my classmates.
The topic we discussed was, is this a successful museum promotion?
One student expressed surprise that the famous Metropolitan Museum put this short film on its official website.
She thinks that this short film is not exquisite, the animation image is not good, and the content is not particularly meaningful.
Several students tried to defend this short film.
"This is really done by children! Unlike in Taiwan, which is claimed to be done by children, it is often modified by large numbers of people, and even is done by adults from beginning to end." "Don't move, is a protector, is the core concept!"
"The idea of a child is so simple, why should we expect how profound it is?" Most of the students think that for Asians, there is often too much emphasis on the "positive meaning" of education, as if children do not learn anything at a museum.
As for what you have learned, it is best to design a study list and see how many questions you can answer.
Well, I don ’ t have the answer, just pick out some questions and let everyone think about it.
This article is reproduced by permission from the Roaming History of Art, The Immovable King at the Metropolitan Museum of the United States.
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"Due to the removal of the ink stain, it is feared that it will cause irreversible second-degree damage, so the repair work can only be promoted by bulldozing."

Title:

Content: "Love Media Chien Hsiu-chih Column" The Yellow Water (1895-1930) "manna water" has finally returned to her mother's house.
Like lost contact for many years, the humiliated daughter, all over the mud returned to her mother's house, but she still raised her head and raised her chest, not shed half a drop of tears, but saw her mother's eyes, her heart was like a knife.
After 185 days of careful, careful and gentle repair process, they took pains to take scientific comparisons and international experts streaming, but still couldn ’ t remove the old ink stain, as if the yellow water had been an art for a lifetime, and had borne the world ’ s troubles and sufferings.
And those old ink stains are also branded with some of the selfish bias of human nature, and at the same time highlight the serious lack of aesthetic education in Taiwan in the early years.
"Mannen Water" is a rare surviving marble work of loess water, and it is also an epic creation, which plays an important role in the history of Taiwanese art.
Created between 1919 and 1920, Mannu was selected for the 3rd Japan Imperial Exhibition (Imperial Art Exhibition), and even the Japanese royal family was interested in the work. It was exhibited in the Taiwan Pavilion of the Tokyo Peace Memorial Expo.
After Huang Tu-shui's death in 1930, his family shipped 500 kilograms of "Mannoshui" to Taiwan in 1931, together with other works, to be collected by the Taiwan Education Association.
After the end of the Japanese era, the Provisional Provincial Council of Taiwan Province moved to Taichung, but in 1958, "Mannen" moved south, embarked on a wandering fate. Although placed by the surgeon Chang Hung-biao family, in 1974, under the treacherous social atmosphere, Chang family sealed "Mannen" in a family-run factory, nearly half a century, with dark traces of ink and dark boxes. In.
The North Master gave birth to a talented young man and returned to his mother's home.
2021 is the 100th anniversary of the selection of Huang Tu Shui “Mannu Water ” in the emperor ’ s exhibition, and it seems that there is a force driving it.
At the end of April this year, when the time came, the "right people, the right situation" finally appeared.
After repeated communication and contacts, the descendants of the Chang family agreed to donate "unconditionally" to the state, so that "manna" finally saw the light of day.
On May 11 this year, "Mannen Water" arrived at the Beishi Museum of Art with care and officially returned to her mother's home.
The Kitaishi Museum of Art and Tokyo University of Fine Arts alumnus Junichi Mori formed a restoration team to carry out professional restoration.
In September this year, under the witness of President Tsai Ing-wen, Zhang Shiwen and Minister of Culture Li Yongde officially signed a contract to deliver the national collection.
In 1921, he was selected for the third emperor exhibition in Japan, becoming a Taiwanese artist once again after he was selected for the second emperor exhibition in 1920.
When the good news came out, the teachers and friends of Huang Tushui in Tokyo and Taipei were proud.
The following year, "Mannoshui" was also invited to be exhibited in the Taiwan Pavilion of the Peace Memorial Expo in Tokyo, Japan, and wrote an unprecedented record, proving that the Japanese royal family and the academic community at that time gave "Mannoshui" a high evaluation and affirmation.
Huang Tun-shui, a native of Taipei's Mengjia, first entered the Mengjia Public School, which was used as a classroom in the Mengjia Temple for a year, and then moved back to Tataocheng Public School (now Taiping Elementary School), where he entered the Mandarin School of the Governor-General's Office.
MORI CHUN-YI LIN MANLI DONG UNIVERSITY FIND EXPERTS FOR EXPERIENCE
November 11 marks the museum ’ s first public appearance after a professional restoration of Mannen.
Lin Man-li, chairman of the National Arts Council, and Junichi Mori, a Japanese expert in restoration, co-chaired a press conference to explain the restoration of the half-century old manna, and the changes in the face after the restoration.
To the north, the north is his mother ’ s home.
And in the school for more than 30 years, is also the North Division Museum of the birth of the director, Lin Manli, feeling particularly deep, when seeing the completion of 100 years of the creation of "manna", in the dust for more than half a century, back to the North Division Museum of Art, like the wandering daughter home, the mood of the excitement, ineffable.
However, the dust servant ’ s daughter returned to her mother ’ s house, and the appearance did not appear to be damaged, but the dust and ink stains, especially when they were maliciously splashed in their private parts, made people not bear to read.
The world's mothers are the same, see the tired daughter, so badly hurt, almost torn liver, heart like a knife.
So the museum and Japanese restoration expert Junichi Mori immediately organized a repair team, since May 11, this year, "Manna" entered the museum, it has been exactly 6 months, but after half a year (185 days) of professional repair, the impurities can be removed, so that the work looks very good, and the private parts of the work, malicious spilled ink, has completely penetrated into the marble crystal. The soul is strong, and the soul is strong, and it is like a dream, and it is not a dream.
Evil ink attack, as early as more than half a century ago, imagine that for more than 50 years, every day wrapped in evil ink long sleep, the feeling of humiliation, can not be described by pen ink.
But in the works, the young girl's slightly raised forehead, warm face, coupled with half open eyes, is still not humble and unkind, and holds up all the attacks and hardships, making people more reluctant, so that the world's mother shared a bitter tears.
Lin Man-li, who also studied in Japan and took ten years to obtain a doctorate from the University of Tokyo, hopes to do her utmost to save the work of Huang Tu-shui, a senior at Tokyo University (formerly known as the Tokyo School of Fine Arts).
In the eyes of Chairman Lin Man-li, the talented and diligent Huang Tu-shui is a rare artistic talent in the past. The time when “Mann-shui ” was selected for the Emperor ’ s Exhibition Award was exactly 100 years ago. It seems like a coincidence of fate, but it is a self-selection of Huang Tu-shui. It is more like the God who was jealous of talents and mistakenly grasping the wonders. After the wind and frost," Mannen Water "returned to the Museum of Fine Arts, like a neighbor who lost her daughter, and after a long search and waiting, returned to her mother's arms, making the Museum of Fine Arts feel warm and warm.
Because of the epidemic, he came to Taiwan last year to repair Huang Tu-shui's "Girl's Chest" and has remained in Taiwan.
Iron urchin ink snake scorpion behavior aesthetics bad taste naked goddess 63 years black box accompanied by long sleep with stain
Mori analyzed the composition of the ink, and he confirmed that the ink stain that was sprayed on "Manna" was "iron gall ink".
This ink, made from a mixture of vegetable tanning and iron salts, has been widely used by European artists since the 5th century.
Because the ink is acidic, written on paper, for a long time, there will be corrosion, "manna" has been spilled by iron liner ink for more than half a century, has been completely melted into the texture of the stone, whether it has a biochemical effect on the marble, it is not yet known, but in terms of repair experience, it is extremely rare.
At present, the private parts of the "manna" statue can be seen with the naked eye, and the inner parts of the thigh are still imprinted with pale blue ink.
In the past six months, the repair team has contacted Italian restorers and NTU's chemical laboratory to try to remove the ink through lasers, ultrasound, and various chemical agents, but it has not been able to completely remove it, because the ink has stayed in the statue more than one piece, and the stain has been inhaled and assimilated by the marble.
From the creation of "manna" so far, more than 100 years, so the repair team is trembling, all repair attempts must work safety as the first priority, look forward to one day, safe and effective decontamination tricks appear, can be dealt with again, but at this stage ink stains can only be diluted.
Lin says that it is a kind of historical imprint, a process that Taiwanese people should remember and reflect on.
Due to the removal of the ink stain, it is feared that it will cause irreversible second-degree damage, so the repair work can only be promoted by bulldozing.
In order to eliminate the stubborn evil ink, they used expert research to understand the source of what kind of black ink, calculate the time of spraying, and make a detailed analysis of everything based on historical development and scientific basis.
Mori, who was in charge of the restoration work, not only handled the bust of "The Girl", which caused a great deal of response last year, but also the restoration of "The Buffalo Herd" by Chungshan Hall, and also helped with the restoration and reproduction of "Teijiro Yamamoto" commissioned by the National Taiwan Museum of Art.
At yesterday's press conference, Mori Junichi said that as a sculptor, a restorer, and a student at Tokyo University of the Arts, his respect for Huang Tu Shui is growing day by day.
After World War I, Japan needs the soul of warriors, the land and water, the art of the East, and the beauty of the East.
Mori Junichi said that Japan in the First World War (1914-1918), due to military needs and other factors, the economy showed abnormal development, when the end of the First World War, Japan broke out the economic crisis of 1918, although the government and opposition efforts to make adjustments, so that the situation rebounded slightly the following year.
But in the spring of 1920, the Japanese economy fell into a new economic crisis, and the Japanese economy fell into a decade-long depression.
Mori explains that during periods of depression and social upheaval, Japanese society generally had a high expectation of "national strength, national strength, and wealth," and that even if it was a nude work, the male body, which favored the expression of power, female body creation, was extremely unpopular at the time.
However, Huang Tu-shui's "Mannoshui" has broken through the eyes of the public, and the naked woman with no visible face has been able to break through the social atmosphere and gain the favor of the judges, which shows that the work's power and connotation are solid, and it is only possible that it will rise to prominence.
As an alumnus of Tokyo University of the Arts, Mori felt the progress of Huang Tu Shui ’ s works in different periods, and admired Huang Tu Shui ’ s talent and hard learning spirit.
Mori Chun-yi said that the restoration process of "Mannu" two major challenges, one to remove the dust and dirt accumulated in the past 50 years, and the second to repair the ink-spilled statue's privacy.
Those accumulated dirt, not the general surface can be cleaned, but to remove a lot of organic matter that has been deep into the marble gap, quite troublesome, he even put the ink, dripping in the simulated hand model to observe the diffusion, to help "manna" find a chance of spring.
Mori Chun-yi ’ s “Buffalo Portrait ” and“ Girl ’ s Chest ” works after the restoration of Huangtuishui are very familiar with the style and characteristics of Huangtuishui in different eras.
Mori Chun-yi pointed out that the marble carving "Chestnut" is only a commercial building material grade stone, the internal impurities, not the sculptor's choice, than last year's "Chestnut Girl", lower grade, resulting in the current "Chestnut" protection of "Chestnut water", congenital shortage (such as stone) and later out-of-tune (ink into the crystal for too long), it is difficult to be physically removed. Repair work, multiplying the difficulty.
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It is understood that for more than half a year, the repair team has continuously tried various efforts for the removal of ink stains through the assistance of Italian repair experts and relevant professionals of the Department of Chemistry at National Taiwan University, but the results are limited.
Mori Junichi said that the repair team, even by injecting solvents in a vacuum, tried to penetrate the crystalline structure and gently remove the ink stains in this way, which is now much lighter than the original situation, but still can clearly see the ink traces.
As part of the cultural association ’ s 100th anniversary activities, the exhibition of related art works has been scheduled to start on December 18. During the exhibition, the works will be covered with ink in a reversible way first, and then continue to be processed.
"Huang Tushui must not have the heart to let everyone see the stains of naked women's private parts, whether Taiwan or Japan, such a viewing culture, is very close."
As a woman and mother, Lin Manli, chairman of the board, worked hard to rescue the yellow earth water.
Lin Man-li said with sadness that in 1915, Huang Tu-shui, who came from the cold gate, was recommended by Uchida Kakich, the governor of the government house, and Kumamoto Shigeyoshi, the principal of the Mandarin school, and other people. He studied wood carving with Takamura Koun (1852-1934) and Asakura Aragonite (1883-1964). He became the first Taiwanese student to study art in Japan. The painstaking.
In the performance of sculpture art, Huang Tushui's self-learning spirit is even more admirable.
In his early years in Taiwan, he carved a lot of wooden Buddha statues, to the Tokyo Art School, but also into the sculpture department, but the water does not set limits, he has a high self-ambition, learning pace.
In class, he used wood carving as a normal learning, and in the spare time, he taught himself stone carving.
Since the Western carving trend of that era, including Auguste Rodin (1840-1917), had spread in Japan, Huang Tishui had the opportunity to observe the information of stone carving art and observe the creative process of stone carvers.
Buddha statue, wood carving, Western stone carving, yellow earth water, self-taught art.
In the tight conditions, limited winding, can only choose the cheaper building grade stone, manna creation, about 1919, Huang Tu Shui is not only still a student in Japan, but also his mother Huang Shi Su the previous year.
The disease is contagious.
He returned to Taiwan to visit his mother, and soon organized a funeral for his mother. The funeral expenses, plus the travel expenses to and from Taiwan and Japan, were a heavy burden to the land and water.
After the return of the day, he created a sad creation, in the continuous experience of life and death, for example, parents and brothers died, the shadow of death, for him, like a shadow, he deeply understands the immortality of the world, and life is short, all the way, seems to be racing against time, so he strongly hopes to challenge the big works, use art to protect his classic. The fruits of artistic exploration leave even more for posterity the timelessness that he has walked through.
Yellow water can not afford pure white marble, to create "manna", the stone size required is large, the cost is higher, he can only choose with stripes of pale yellow stone, and is a building material grade, will be ready to create.
A penny, a penny, a second grade stone, not only in appearance, not good looking, the texture of this type of stone is also inconsistent, in the carving, more difficult to master than pure white marble, more time-consuming and laborious. The use of stone grain at the right time, skillfully translated according to the grain.
This is because he saw that the stone is like the inside of a shell, so he incorporated the concept of Nirvana in the Dharma into the shape of the shape, so that the naked woman ’ s hands hung on the shell shaped stone block, calm, calm and confident, the hair bun, extending from the neck to the back of the beautiful curve, half open his eyes, conveying the deep love. Meaning, the height of 153 cm marks the realistic beauty of the East, not the Western Venus.
The beauty of women, not only does not impose the high feminine charm of Western Venus, but also deliberately gives "Mannen Water" with a slightly heavy foot, to highlight the vulgar and friendly work of ordinary people, is the aesthetic of ordinary people, the left and right sides of the palm of the foot, so that the "Mannen Water" inside, showing more layers, vast and boundless, "second grade stone, creative. Not only does the work not hide its flaws, but it also shows a personal style and irreplaceable identity, and only when the slightly chubby Oriental woman in" Manna Water "has the chance to make Huang Tushui once again enter the imperial exhibition and win the crown.
However, the homeless wanderer, lonely and lonely, crying in the dark, he relies on creation, suffering from hunger and cold, healing pain, and more "manna" glory, ending sadness, with reverse thinking, transcending adversity, that kind of sadness, also in the "manna water", it is easy to read, like entering Mahler (Gustav Mahler 1860) 1911) in the world.
Death Overhead Solitary Watch Long Night Mahler Gavel, Funeral Song, Anti-Tragedy Yellow Water "Mannen" Welcome to Rebirth
Mahler ’ s life has been full of bad luck, death, and long years. Through music, he confided in his heart, and in the entangled atmosphere, he made a protest against the 51 years of his short life. In.
On the contrary, the yellow earth water, 35 years old due to blindness delayed medical treatment, caused peritonitis death, his fate is shorter, the rhythm of more hasty, but marble carving, time and effort, not fast, to the yellow earth stone in the age of 24 to 25 years old to create "manna", suffice to his vomiting heart and blood, really emperor, 26 years old let him win the laurel And...
With his precocious intellectual youth and bold and innovative contemporary vocabulary, he completely ignored the conservatism surrounding him, and chose the local girl who represented the oriental body, declaring his aesthetic views with the most frank and friendly naked body, and bringing out the Oriental height and the grand praise of human values.
It is worth mentioning that Huang Tu-shui was diligent and practical, and he used Western sculpture concepts and techniques to integrate the essence of Eastern aesthetics learned from the wood carving of Buddha statues in the early years, and devoted himself to the hard work of marble creation.
The naked face is far from the erotic hint of the wind, flowers and snow, and the pure posture of all things in heaven and earth, expressing Shen stable and introverted. That half-open eye is a window to visit the world, and it is not a Western artist at all. She is selfless and unlustful, passing on the great love of human beings, distributing soothing feelings, protecting all things in the universe, and celebrating eternity.
Huang Tushui's "Mannu Water", like the daughter of Taiwan, takes the cangs of half a century back to her mother's home, the poison of evil ink and the evil of human nature, making people speechless.
A total of 185 days of repair work has passed, and the bad ink is still hard to remove, but the good justice that the yellow earth water gave to the naked woman of "Mannen" still allows the work to expand its chest, not humble and not arrogant.
Taiwan's daughter brings Cangsang back to her mother's home, she doesn't feel inferior, and she turns back her enemies.
"Manna Water" is not only a pioneer in the history of Taiwanese art, even in the Japanese society of the 1920s, it is also a rare contemporary masterpiece. In every detail of the work, the soft beauty of the neck line under the bun, the delicate and sensitive back line, and the skin treatment that can be broken by blowing, are still attracting attention after 100 years. The Pen.
Today, 100 years after the creation of "Mannoshui", it can be reproduced in front of the eyes of the public. It is believed that it will inevitably bring a new and all-round impact to Taiwan society.
Huang Tu Shui "manna" in the end of the restoration, take a reversible treatment, temporarily cover the ink stains, so that the work presents a clean, clean new look, happy to meet the public.
This exhibition, which will be exhibited at the Beishi Art Museum from December 18 to April 21 next year, will then move to the Kaohsiung Museum of Fine Arts to continue to share with the people of central and southern Taiwan, so that people can feel the proud achievements of Huang Shishui's creation of "Mannoshui" a hundred years ago, insight into human talent, and the vast selfless love.
Perhaps let the Yellow Water, which has been dead for 91 years, truly enter the earth for peace, let go of the sufferings, tribulations, troubles and distractions of the human world, and use the "half-opened eyes" of "Kandoo Water" to climb the "Niranpan" Buddhist landscape, and even sail into the realm of freedom in the clear sky!
The author is the president of Collections Magazine.
Photo Source: Official website of the North Museum of Art.
● For more articles, see the author ’ s Facebook page, published with permission.
● Column article, does not mean i-Media love media position.
# manna # loess # restoration # creation # Mori Chun

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"Attack" escalates environmental protester tomato juice Van Gogh "sunflower"
Two British environmentalists on Wednesday poured canned tomato juice on Dutch artist Vincent van Gogh ’ s famous painting “Sunflowers ” at the National Gallery in London to protest against fossil fuel extraction.
As the painting is covered with glass, only the gold-plated frame is slightly damaged, and the painting itself is not damaged.
London Metropolitan Police have arrested the two female protesters on suspicion of criminal damage and aggravated trespass.
This is the latest in a series of climate protests in recent months against famous paintings in museums around the world, which have drawn media attention and criticism from environmental groups for their radical actions.
Two protesters who poured tomato juice on Van Gogh ’ s “Sunflower ” painting from Just Stop Oil put their hands on the wall of the museum, and one of them shouted,“ Which is more valuable for art or life?
Another group of protesters later gathered in front of the police headquarters and sprayed yellow paint on the New Scotland Yard sign; several people stuck themselves on the road to block traffic.
Police said 24 people were arrested.
In July, Stop Oil, which opposes the British government ’ s approval of new oil and gas projects, also spray-painted and glued their hands to a frame under Leonardo ’ s early copy of The Last Supper at the Royal Academy of Arts in London, the same week they went to the National Gallery and glued their hands to the British painter John Constable ’ s The Hay. Wain) on the frame.
At the time, a series of protests lasted for two weeks, and protesters blocked London bridges and crossroads.
That same month, members of the Italian climate group Ultima Generazione glued their hands to Sandro Botticelli ’ s “Primavera ” with protective glass at the Uffizi museum in Florence.
Dana Fisher, a social scientist at the University of Maryland who studies the protest movement, called these “neo-radical ” environmental activists“ disruptors ”; she noted that they were constantly “winning by surprise ” in order to get media attention; the“ tomato juice ” was clearly a “tactical upgrade, ” and they also seemed to deliberately choose glass-covered paintings to“ do it ” in order to minimize damage.
Fisher said that previously noticed marches or sit-ins were quickly ignored after the media became accustomed to certain types of radical actions; previously, climate protesters had caused a small sensation by gluing themselves to art, but now the focus on such actions has cooled, and protesters have turned to defacing the appearance of art to gain attention.
Van Gogh ’ s famous painting “Pouring Tomato Juice ” did make headlines in British and European newspapers on the 14th, and a YouTube video of the incident was viewed 13.3 million times that afternoon.
But protesters also risk “escalating ” their tactics, and many of those who originally sympathized with them may feel offended or even cold.
"Research shows that this strategy does not change the mind or the mind," Fisher noted.
Preventing commuters from commuting to work or harming irreplaceable works of art may cause people to be reluctant to face the climate movement for at least some time.
Fisher asked, “The action was compelling, but did it really achieve its purpose? ”
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"Huang Tushui's 'Mannu Water', like the daughter of Taiwan, takes the cangs of half a century back to her mother's home, the poison of evil ink and the evil of human nature, making people speechless."

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Content: The 5 rules of art training necessary to visit a museum and see an exhibition are basic.
Author: The Bund
Published: Updated:
The exhibition of civilization is a long way off.
Huang Yi, a mainland actor, took a group of photos in May and said excitedly: “For the first time in my life, I played the little swallow 20 years ago, so today I want to take her with me … ” She is wearing a diamond rose earring and holding a rose in her hand.
Unexpectedly, the photo caused controversy when it was posted.
After realizing the mistake, Huang Yi made a public apology at the first time, sincerely saying that she would be more strict in her work and life in the future, and deleted the photos.
And then there were those who cried.
Because there is no clear logo around the exhibits she took, it is easy to be misunderstood.
But her reaction also gave us a demonstration and warning.
In the past two years, more and more people have gone to the museum, and we have begun to realize the importance of spiritual wealth, but while feeling the art, we should be more awe of the works in front of us.
Touched and damaged exhibits
The photo props that Huang Yi held in his hand this time were part of a new exhibition “Cloud Sculpture – The First Academic Invitation Exhibition ” at the Pine Museum of Art in Beijing in early May. The artist placed a shiny“ rose field ” on the outdoor lawn.
Before Huang Yi took the photo, many people had already come here to check in.
Some influencers even hold a whole bouquet of flowers in their hands, unaware that it is also part of the artwork.
Sometimes, in order to better integrate art and the environment, artists will deliberately not set boundaries on the edge.
But often, it can lead to accidents.
At the end of February, during a preview of Art Wynwood in Miami, Jeff Koons ’ balloon dog sculpture was accidentally knocked down by a visitor.
The collection fell to the ground and fell to pieces.
This sculpture is worth $42,000, which is a shame.
After the incident, the visitor did nothing to make up for it, except to feel "very ashamed."
Fortunately, the organizer bought insurance, and the loss was paid for by the insurance company.
Related article ： Jeff Koons' balloon dog was accidentally broken in the United States exhibition cause of Luo Shengmen
+ 16
Some of them may be unintentional, and some may be driven by excessive desire to explore.
When Yayoi Kusama ’ s previous exhibition landed in Shanghai, an iconic pumpkin stood in the center of the square.
It is forbidden to touch the scene, and there are security reminders around, but there are still people who try to make intimate contact with it.
In desperation, the organizer had to surround it with a guard line.
Compromise artists.
After the destruction of the exhibits, it is often difficult for artists to claim compensation, sometimes claiming to re-create the artwork and co-exist with the destruction.
During May Day this year, the "wilderness country" of Luhu in Chengdu was loved by tourists.
A variety of imaginative art installations, childlike and romantic.
However, the work of the artist Joe Knife, “Giant Cat ”, was only put in for a week and found to be destroyed.
Looking at the injured cat, he and the staff were distressed and could only put a small tape on the wound.
When people come and go in public spaces, it is difficult for staff to stare at a certain exhibit all the time, and it is difficult to restrict the behavior of those who come and accept the status quo.
Recently, young felt artist Carrot Pie has also been distressed by the damage to the exhibits.
Her handmade felt sculpture, “Daydream of a Rainy Day, ” was originally a work that allowed“ touch and rely on. ”
I can ’ t believe it was only four days before the show, and the audience was pissed off.
Many bear children climbed onto the sculpture and kept pulling her, pulling her, and stepping on her. After seeing the pie, they were particularly sad and felt that their work had been completely destroyed.
She lamented, “Why do so many works require touching to be forbidden? ”
Because you never know how outrageous the scene will be! ”
Coincidentally, a banana exhibit at the Seoul Art Museum in South Korea was eaten by a student during a visit.
This banana is one of the important works by Italian artist Maurizio Cattelan, called Comedian, which was sold for $120,000.
After the incident, the artist put a banana on it, saying that he did not intend to pursue the university student.
Related Article: Seoul 's' Banana 'Artwork Eaten, Korean University Students Involved: No Breakfast Feeling Hungry
Many times, perhaps it is because the cost of making mistakes is too low that people dare to vandalize exhibits without restraint.
As for whether the exhibits should be surrounded in the end, there is no unified standard in the industry.
One curator said that they had tried to make an open exhibition, but the view was very poor.
Some people will secretly take away the exhibits, and others will sit on it and pose, and for safety reasons, they will agree to protect the exhibits in a conventional manner.
What should I pay attention to when visiting the museum?
In the past two years, the museum has become the preferred destination for many young people to travel in their leisure time.
The reason we go to the exhibition is not only to see the works of art, but also to experience the perspective of the artist to see the world and feel their expression.
Art in the subtle, nourishing people's spiritual world.
As Chen Danqing wrote in The New York Chronicle: “Strange.
When people come to the museum, they will look good... standing in front of the painting or statue, and quiet, and their eyes are exceptionally pure. "
However, the act of vandalizing the exhibits is not beautiful at all.
Regardless of the form in which the exhibits exist, we should maintain respect and distance.
What do you usually pay attention to when going to a museum?
1.
Comply with the Basic Principles of Public Space
For example, not eating anything, not talking loudly, not wearing shoes that sound too loud to walk, etc., does not affect other visitors.
2.
Do not touch the exhibits.
With the exception of the few interactive or interactive exhibits that can be touched, most of the exhibits are by default only farsighted.
Do not feel that it is irrelevant to gently touch, if everyone does, countless fingerprints and sweat left on the exhibits will cause irreversible damage to the exhibits.
There are some small items that may be worth even the city.
3.
Pay attention to the photo scale
You can ’ t turn on the flash when taking photos, and you can ’ t bring equipment such as selfie sticks and tripods.
This is because strong light can accelerate the fading, aging of some artworks, and even stab the eyes of other visitors.
4.
Take your backpack carefully.
Many museums have a bag storage service, if you carry a shoulder bag, try to carry it with your hands or on your chest, so as not to inadvertently touch the exhibits or others when turning.
5.
No pets
Pets are usually not allowed in the museum.
Because once they get out of control and run around, they will knock down and damage the exhibits.
Conversely, if the exhibits are heavy, or the surface is sharper, it will cause harm to the pet.
Different museums may have different details.
When you are not sure if you can do something, you can check the official requirements in the museum or ask the staff.
Nowadays, many museums are already doing education very carefully, such as the Chi Mei Museum in Taiwan, everyone must be taken to a special room before visiting to watch the must-know animation, to avoid violating the regulations without knowing it.
Respect the work of artists and museums, and show civilization, the road is long and long.
This requires the awe and self-awareness of each of us, believing in the light of one lamp, and the light of all lights.

"The little head was shot through a hole."

Title:

Content: Peru ’ s “Giant Root Statue ” lasted only 7 days!
The little head was shot through a hole.
Journalist Chang Ching-jung / Integrated Foreign Press Report
A new "giant penis statue" erected this year in Moche, northern Peru, more than 3 meters high, just unveiled to attract a large number of people to watch the "majestic" picture, but did not expect just a few days ago because of infuriating some conservationists, was vandalized in the middle of the night, the statue's head was smashed through a hole.
▲ ▼ The statue of Mochka culture, which symbolizes fertility, was vandalized by people. (Photo / Facebook of Mochka Municipal Government)
The Guardian reported that the statue of the penis, made of glass fiber, is a religious representative of the pre-Columbian Mochica culture, and often appears in the shape of ceramic vessels during burial, symbolizing strong fertility.
The statue is only 15 minutes ’ drive from Trujillo, Peru ’ s third largest city, and immediately caused a stir after it was set up early this year. In addition to becoming a new place for people, it also caused some people ’ s anger, saying that the picture was very unsightly.
However, despite the negative noise, the endless crowds still prove that the statue helps promote local tourism.
Less than 10 days after the unveiling, the statue, which is more than 3 meters high and has a penis 45 degrees straight in front of it, was smashed into the turtle head position overnight, as if the male's most valued organ had really encountered serious lacerations.
▲ The turtle head part of the statue was smashed, so that people can see the pain.
(Photo / Twitter)
The mayor of Moche, Arturo Fernández Bazán, said that at 2 a.m. on the 7th, three suspects wearing T-caps and covering their heads held knives against the neck of the guards, so that he could not use the radio to notify the rescue, and then two of them violently smashed the turtle head of the statue.
It is understood that the suspect also fired a gun to celebrate when he fled, apparently with full hostility to the statue.
The statue was donated by an artist to the local government, hoping to promote the local cultural revival and promotion, and Bazan is also pleased to support the artist, saying that in the future, there are plans to erect 30 more Mochka statues, 10 of which will be sexual or fertility statues.
As Peruvians, Bazan said, “All of us should be proud of our diverse cultural heritage, including, of course, the sexual and emotional aspects of human nature. ”
She said that while no one would be allowed to destroy the statue for any reason, she also believed that a better explanation of the cultural aspects of the statue might resolve the controversy it created.
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"▲ The turtle head part of the statue was smashed, so that people can see the pain."

Title:

Content: Peru ’ s “Giant Root Statue ” lasted only 7 days!
The little head was shot through a hole.
Journalist Chang Ching-jung / Integrated Foreign Press Report
A new "giant penis statue" erected this year in Moche, northern Peru, more than 3 meters high, just unveiled to attract a large number of people to watch the "majestic" picture, but did not expect just a few days ago because of infuriating some conservationists, was vandalized in the middle of the night, the statue's head was smashed through a hole.
▲ ▼ The statue of Mochka culture, which symbolizes fertility, was vandalized by people. (Photo / Facebook of Mochka Municipal Government)
The Guardian reported that the statue of the penis, made of glass fiber, is a religious representative of the pre-Columbian Mochica culture, and often appears in the shape of ceramic vessels during burial, symbolizing strong fertility.
The statue is only 15 minutes ’ drive from Trujillo, Peru ’ s third largest city, and immediately caused a stir after it was set up early this year. In addition to becoming a new place for people, it also caused some people ’ s anger, saying that the picture was very unsightly.
However, despite the negative noise, the endless crowds still prove that the statue helps promote local tourism.
Less than 10 days after the unveiling, the statue, which is more than 3 meters high and has a penis 45 degrees straight in front of it, was smashed into the turtle head position overnight, as if the male's most valued organ had really encountered serious lacerations.
▲ The turtle head part of the statue was smashed, so that people can see the pain.
(Photo / Twitter)
The mayor of Moche, Arturo Fernández Bazán, said that at 2 a.m. on the 7th, three suspects wearing T-caps and covering their heads held knives against the neck of the guards, so that he could not use the radio to notify the rescue, and then two of them violently smashed the turtle head of the statue.
It is understood that the suspect also fired a gun to celebrate when he fled, apparently with full hostility to the statue.
The statue was donated by an artist to the local government, hoping to promote the local cultural revival and promotion, and Bazan is also pleased to support the artist, saying that in the future, there are plans to erect 30 more Mochka statues, 10 of which will be sexual or fertility statues.
As Peruvians, Bazan said, “All of us should be proud of our diverse cultural heritage, including, of course, the sexual and emotional aspects of human nature. ”
She said that while no one would be allowed to destroy the statue for any reason, she also believed that a better explanation of the cultural aspects of the statue might resolve the controversy it created.
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"After the incident, the artist put a banana on it, saying that he did not intend to pursue the university student."

"Bronze statues or signs that once existed and carried collective pain, or were collectively removed in full view of the public or in the dark of night."

Title:

Content: Writers' Column
(Yu Li-wen / tr.
century
century.
Symbiosis: Reading about Disappearance / by Yu Li-wen
[Ming Pao article] Different campuses have disappeared in succession. Bronze statues or signs that once existed and carried collective pain, or were collectively removed in full view of the public or in the dark of night.
What people see? What people don ’ t want others to see? The corridors we walk through are piled up with guardrails and canvases. Is there anything that needs to be hidden? Why does the space that is free to walk seem to be getting narrower and narrower?
At the same time, there are other signs that keep entering the once green grass, how can I read these never-ending changes?
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"The park will remove Chiang Kai-shek’s bronze statue and change the axis of the park’s space in order to reconstruct the memorial narrative, but does it have to be removed to reconstruct the narrative?"

Title:

Content: Free Republic, Huang Xu / Symbol of Conquered? Bronze Statue of Chung Cheng Memorial Hall
The park will remove Chiang Kai-shek ’ s bronze statue and change the axis of the park ’ s space in order to reconstruct the memorial narrative, but does it have to be removed to reconstruct the narrative?
Huang Xu / Exhibition Researcher at HKUST
The park will remove Chiang Kai-shek ’ s bronze statue and change the axis of the park ’ s space in order to reconstruct the memorial narrative, but does it have to be removed to reconstruct the narrative?
Those who grew up with the Chiang Kai-shek Memorial Hall over the past 40 years have no shortage of memories of the removal of the bronze statue.
From universities, parks, government agencies to the military, the bronze statue in the trend of democratization of Taiwan, one by one from the public space. The symbol of the bronze statue, at that time, also played the function of ruling society, collective education and domestication in the campus and the military; its frontiersmen risked danger, in the authoritarian political rigidity and death, the old totem actually carried out questionable destruction, it has the meaning of resistance to break the idol. And...
However, does the bronze statue sitting in the memorial still maintain the same social function in the era of authoritarianism?
In the square in front of the memorial hall, people gathered to support the protest cloth; tourists freely shuttled to watch the wonders of the handover of guards; children chasing and playing; lovers walking after the end of the opera... For these people, the bronze statue and the symbol of the axis obviously cannot make them worship the powerful and the authoritative.
The same image, its symbols may have different social functions at different times.
Feeling the symbol of authority does not mean obeying and believing in authority.
But today, there is no guarantee that tomorrow will remain; the specter of authoritarianism always hovers over human society, waiting for an opportunity to resurrect, history has appeared, the future does not guarantee that there is no.
So, can removing the bronze statue prevent the ghost from coming back?
Renowned sociologist Bruno Latour curated an exhibition “Iconoclash ” in Germany, reflecting on human“ Iconoclasm. ”
One of the reasons that Latus does not believe and does not believe in the need to destroy the removal of the image is that in destroying the image, it is likely that the image will be "freeze-framing", and it will be removed from the historical movement of reproduction, and become a static, deactivated, and a symbol of conquest.
At different times, the same acts of vandalism may change from “resistance ” to the meaning of“ conquest ”; if accompanied by the cries of idolatricians, it is no different from the spectacle of the tyranny of the truth that is fickle.
It is worth pondering, can we break away from the monopoly of the authoritarian ghost by destroying the statue? The destruction of the giant Buddha statue increases the religious conflict and does not destroy Buddhism. Removing the bronze statue may also increase social contradictions in vain and do nothing to prevent authoritarian politics.
Prevention of authoritarianism must begin with understanding what authoritarianism is, rather than transforming authoritarianism into an image and publicly expelling it, forming the illusion that authoritarianism seems never to come again.
The spatial layout and objects of the Zhongzheng Memorial Hall garden form a group of powerful statues, which concretize the abstract political system, and describe the strong politics of the past and the great power landscape.
Refusing to categorize this group of images, you can link it with other images, objects, films, paintings, etc., and place it in a dynamic society and flow of time, such as through it to see Taiwan ’ s political participants during the Japanese rule, and then to see Taiwan ’ s democratic politics creeping forward.
Through the authoritarian symbol of the image, the image of political dissidents standing on the streets can be more enlightening, and the figure of political victims can be more memorable, so the democratic system and freedom of speech are more cherished.
In other words, this set of spaces and objects has the ability to show connections, which can help us to have a deeper understanding and reflection on the history and the present.
Without authoritarianism, we cannot understand the hardships of Taiwan ’ s democracy. Its symbol should not be seen as a buried past, but as a reference that must be returned at all times.
A history that must be vigilant is not equivalent to a text that covers the coffin.
Using the authoritative symbols of this set of images as a medium is an eternal work of building relationships between images, a continuous process of connection and production from the images to other images.
Only in this way will the Chiang Kai-shek Memorial Hall Park become a public space for safeguarding democracy, rather than another place to commemorate its great achievements.
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"Unlike in Taiwan, which is claimed to be done by children, it is often modified by large numbers of people, and even is done by adults from beginning to end."

**Note:** The text provided refers more broadly to symbolic violence, vandalism, and collective memory, with limited concrete incident data regarding the Little Mermaid in Copenhagen.

Title:

Content: Writers' Column
(Yu Li-wen / tr.
century
century.
Symbiosis: Reading about Disappearance / by Yu Li-wen
[Ming Pao article] Different campuses have disappeared in succession. Bronze statues or signs that once existed and carried collective pain, or were collectively removed in full view of the public or in the dark of night.
What people see? What people don ’ t want others to see? The corridors we walk through are piled up with guardrails and canvases. Is there anything that needs to be hidden? Why does the space that is free to walk seem to be getting narrower and narrower?
At the same time, there are other signs that keep entering the once green grass, how can I read these never-ending changes?
Previous / Next News

Still, the extracted sentences address key acts of damage (ink stains, head being shot, smashing), hints at motives (protest, evil of human nature), references to restoration challenges, and considerations about public space and collective memory.

More detailed chronological data may require additional sources specific to the Little Mermaid statue vandalism history.