spomenicima preostalima iz socijalističkog društvenog uređenja, a koji je nakon pada Berlinskog zida bio zahvatio srednju i istočnu Europu. Komisija je, naime, zaključila da neželjenu baštinu treba prepustiti vremenu, to jest starenju i propadanju.
Klaudio Štefančić
(RE)THINKING SPACE & PLACE PUBLIC SQUARE, STREET, MONUMENT
By trying to highlight the importance of Auguste Rodin in the history of European art in her capital book Passages in Modern Sculpture Rosalind Krauss, almost incidentally, drew attention to several structural features that still, I believe, define public sculpture. In the text Narrative Time: the Question of the Gates of Hell, Krauss also writes about the role of monuments shown in Sergei Eisenstein’s film October. The film begins with the scene showing the monument to the Russian Emperor Nicholas II, and throughout the film Eisenstein also uses the images of other types of sculpture: the figure of Napoleon, Christ, primitive idols and Rodin’s sculptures The Kiss and The Eternal Idol. Krauss uses the scene of a revolutionary crowd that in one moment rushes into the town square to take down the monument to Nicholas II, as well as the one in which Eisenstein uses film editing to connect female soldiers defending the Winter Palace from the Bolshevik attack with the images of Rodin’s sculptures, to conclude that Eisenstein does not find sculpture important because of its mimetic quality, but because of its ability to embody ideas and attitudes. Krauss argues that of the totality of art, Eisenstein sees sculpture as substantially defined by ideology: the monument to Nicholas II thus embodies the empire, and Rodin’s sculptures The Kiss and The Eternal Idol represent a sentimental fantasy of love, which the film attributes to female reactionists. Krauss elaborates further that public sculpture is also used to mark a place. In the discourse of European art, this actually serves as a commemoration, as a reminder of excellence, not only of a specific time in history, but also of a specific place. This thesis enabled Krauss to interpret crucial events in the history of modern sculpture within the context of European art, from ancient and Renaissance 32