Abstract
In the following section of this study, we will investigate the monuments that refer to Wallenberg in a more general sense than did the previous examples, which focused on Wallenberg’s deed or fate. The monuments in this section aim at expressing what their creators regarded as the higher-ranking, universal essence of the Wallenberg story that made it worth telling to future generations. Frequently, these monuments are based on the understanding of Wallenberg as a representative of humanitarian ideals.
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Notes
For the work, see Lenke Rothman, Att minnas—det goda gärningen: Hågkomsten, hyllningen och respekten för Raoul Wallenbergs gärning i Budapest 1944. Gestaltning av Lenke Rothman (Stockholm, 1998).
For an overview of the art collection in the parliament, see Bo Lindwall, Art in the Riksdag Building (Stockholm, 1990),
or Hedvig Hedqvist, Möte med Sveriges Riksdag: Arkitektur, konst och inredning (Stockholm, 2003).
This reading is shared by Henriette Zorn, “Grus, almanacka och ljusstakar: Lenke Rothman har gjort en lågmäld och stark hyllning till Raoul Wallenbergs minne,” in DN (April 4, 1998), A6.
Gitta Magnell, “DN gratulerar: Vittnen i stram givakt,” in DN (March 28, 1999), A6.
See Günter Metken, Spurensicherung: Kunstals Anthropologieund Selbsterforschung. Fiktive Wissenschaften in der heutigen Kunst (Köln, 1977), 139 as well as idem, Spurensicherung: Eine Revision. Texte 1977–1995 (Amsterdam/Dresden, 1996).
See for example Lenke Rothman, Ok Ok No New York, with photos by Tana Ross (Åhus, 1984), in which she described, during a stay in New York in 1981, how she approached art. This essay can be seen as symptomatic of her approach towards art in general. See also idem, Inskrifter (Stockholm, 2000).
See Herbert Molderings, “‘Spurensicherung’ in der Bildenden Kunst,” in Detlef Hoffmann together with Karl Ermert (eds), Spurensicherung. Geschichte und Vergangenheit in Kunst und Wissenschaft (Rehburg-Loccum, 1985; Loccumer Protokolle (55) 1984), 8–33, here 9. Molderings argues, however, for the use of the term “conceptual art” instead of Spurensuche because the “artwork is first of all an invention not a find.”
Yvonne Granath, “Ett estetiskt förhållningssätt hjälpte mig också i Auschwitz,” in Stockholms Fria Tidning (February 6, 2005).
Torsten Ekbom, Ett skrin fullt av samlade saker: Om Lenke Rothmans konst [Stockholm: L. Rothman, 1995], 10.
Lenke Rothman, Regn (Stockholm, 1993), 69.
Lenke Rothman, Spår—ett minnesmärke/Track—A Memorial (Stockholm, 1995), 26.
For the cult of hero worship, see Jan de Vries, Heldenlied und Heldensage (Bern/Munich, 1961), 307ff.
For the names of all nominees, see Penny Schreiber and Joan Lowenstein (eds), Remembering Raoul Wallenberg: The University of Michigan Celebrates Twentieth-Century Heroes (University of Michigan Wallenberg Executive Committee, 2001).
Quoted from Rogers, “An Architecture of Sanctuary,” 34. The statement can also be found in Laura Nelson, “Sculpture honors Wallenberg, King,” in The Michigan Daily (October 27, 1995), 6.
See Älskade Farfar, 203. See also Lester, Wallenberg, 30, and Lillian E. Stafford, “Raoul Wallenberg Remembered,” in Michigan Alumnus 91 (6) (May 1985), 16–28, here 19.
For a complete list of the nominees up to 2001, see Rafael Moneo,: The Freedom of the Architect. The Raoul Wallenberg Lecture (Ann Arbor, 2002), 46.
The following is based on Dag Sebastian Ahlander, “The History of the Monument,” in the booklet The Raoul Wallenberg Monument in New York: Lest We Forget The Cruel History Of Our Time (Malmö, 1998), 9–11, and a telephone interview with Ahlander on July 18, 2005 that clarified remaining questions. Ahlander has also written the children’s book Raoul Wallenberg. Hjälten som försvann (Stockholm, 2001).
Jan Torsten Ahlstrand, “Ett monument som hejdar tidens ström,” in Gustav Kraitz: Raoul Wallenberg Monument i New York (Lund, 1999), 2–8, here 5.
Kraitz, in an article by Bengt Hansson, “Hopp: Idag tar New York emot Raoul Wallenberg-monumentet,” in Göteborgs-Posten (November 9, 1998), 33.
Kraitz, in an article by Larsolof Carlsson, “Minnesmärken med symbolik,” in Helsingborgs Dagbblad (April 15, 1999), 25.
See Daniel Levy and Natan Sznaider, “The Institutionalization of Cosmopolitan Morality: The Holocaust and Human Rights,” in Journal of Human Rights 3 (2) (June 2004), 143–57.
See for example Jan Pieper, Pienza: Der Entwurf einer humanistischen Weltsicht (Stuttgart/London, 1997), or Andreas Tönnesmann, Städtebau und Humanismus (Munich, 1990).
Edmund Burke, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, ed. with an introduction and notes by Adam Phillips (Oxford, 1998), 36: “When danger or pain press too nearly, they are incapable of giving any delight, and are simply terrible, but at certain distances … they are delightful.”
Brita Ostadius, “Tre nordiska mästare trollar med sten,” in Borås tidning (July 7, 1996).
The contrast “private-public” is indeed an essential element of Gyllenhammar’s work; see especially Håkan Nilsson’s article “Charlotte Gyllenhammar,” in Magnus Jensner and Evalena Lidman (eds), Charlotte Gyllenhammar (Stockholm, 2005).
Published for example in Debórah Dwork, Children With a Star: Jewish Youth in Nazi Europe (New Haven, 1991), 204.
Martin Gilbert, The Righteous: The Unsung Heroes of the Holocaust (London, 2002), 375.
Ulf Abel, Ikonen: Den besjälade bilden. Essäer och uppsatser om ortodox kyrkokonst (Skellefteå, 2006).
See Hans-Dieter Gelfert, Im Garten der Kunst: Versuch einer empirischen Ästhetik (Göttingen, 1998), 21–2.
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© 2009 Tanja Schult
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Schult, T. (2009). Raoul Wallenberg’s Legacy. In: A Hero’s Many Faces. The Holocaust and its Contexts. Palgrave Macmillan, London. https://doi.org/10.1057/9780230236998_9
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