Withdrawal Space

Withdrawal Space
Withdrawal Space

Video: Withdrawal Space

Video: Withdrawal Space
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The monument, proposed by the architects of the Arch group and the sculptor Igor Shelkovsky, was not among the winners of the competition for the memorial to victims of repression, and yet it deserves attention, if only because the authors combined, and at the same time divorced between themselves two components of almost any monument: architectural and sculptural, making each of them weighty and expressive enough. Both options consist of two parts - volumetric and spatial, designed to influence the viewer in different ways and acting, on the one hand, together, and on the other, separately, as if in some way even alternately, like partners, giving each other a rest. but not missing the audience's attention.

In both versions, the spatial component is the square of the square, it is left almost empty and surrounded on three sides by fir trees: the architects proposed to preserve the trees, and to plant them in front of the former computing building, now a business center, fenced off from it. Spruce stands as a wall and becomes part of the composition. The sculpture is brought forward, on the sidewalk, in fact, closer to Sadovoye, in order to be visible to passers-by and to stand in the way of passers-by, rare in this place.

Sculpture in each case is the main part of the monument, and participation in the project of Igor Shelkovsky, the hero of the Moscow underground of the sixties, conceptualist, socialist artist, founder of the magazine "A – Ya", "a man of extraordinary inner freedom" - in this case is absolutely essential. Shelkovsky's father was repressed in 1937, when the artist was only two years old, and from some point the camps and repressions became one of the main themes in his work. The monument to the victims of repression is a deeply personal story for him. One of the ideas of the monument - the head - Shelkovsky showed in May at the exhibition "37" in the Moscow Museum of the History of the Gulag.

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Проект мемориала жертвам политических репрессий на проспекте Сахарова. Вариант 1: «Вышка». Ситуационный план © Arch group
Проект мемориала жертвам политических репрессий на проспекте Сахарова. Вариант 1: «Вышка». Ситуационный план © Arch group
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In the first version, there is a camp. The sculpture here is a black fifteen-meter high metal tower, as high as a five-story building, very large. To the right of it, in front in the direction of travel - an old Moscow building, four-story; behind - seven floors of the former computing, in front of Sadovaya - an eight-story building. And, finally, a laconic background would be given by the cubic building of Leonid Pavlov, there are fourteen floors in it. I don't know much about camp towers, but I guess their height is from two to five meters, probably. That is, here is a large-scale, monumental enlargement, a tower with a house, neatly inscribed in the scale of the building, but not less. It makes passers-by and passers-by for some moment put themselves in the shoes of the victim, with their backs to feel the observation of malevolent eyes.

The area behind the tower is designed as a funnel - its edges are slightly inclined and dotted with small stones, each of which represents 10,000 victims. It would be difficult to pass here, uncomfortable. But the main thing is that in the center of the faceted funnel a certain “ant lion” is easily guessed, which is waiting for the victims to roll down into its mouth. The square becomes a space for victims, guarded in a circle - by the regional committee's blue Christmas trees and a giant tower all over the country. The square either pushes all objects out of itself, or inevitably grinds, and it is scary to step on it, everything there turns into pebbles-figures, such an enchanted space. A metaphor for a machine of destruction.

Проект мемориала жертвам политических репрессий на проспекте Сахарова. Вариант 1: «Вышка» © Arch group
Проект мемориала жертвам политических репрессий на проспекте Сахарова. Вариант 1: «Вышка» © Arch group
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Проект мемориала жертвам политических репрессий на проспекте Сахарова. Вариант 1: «Вышка» © Arch group
Проект мемориала жертвам политических репрессий на проспекте Сахарова. Вариант 1: «Вышка» © Arch group
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In the second version, not a camp, but a shooting. The sculpture is in the same place, but it is a giant brick head, shot through in several places. Bricks denote a lot of victims, but here already without counting, conditionally. Behind the head, a shadow-pit “falls” on the square, similar to a grave and unexpectedly to an archaeological excavation, probably indicating how much more information needs to be “unearthed”. And how they were buried, not counting. And they won't count everything even now. Ate in this version of the monument - a firing squad in front of the condemned.

Проект мемориала жертвам политических репрессий на проспекте Сахарова. Вариант 2: «Голова» © Arch group
Проект мемориала жертвам политических репрессий на проспекте Сахарова. Вариант 2: «Голова» © Arch group
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It's somehow difficult to say something about these monuments, it's a very difficult topic. But I remember

a monument-museum, proposed by the Arch group less than a year ago at the Auschwitz competition. There is something in common, there is a common handwriting between them, but here, when compared with the complex, only signs remain: a tower, a wall, an emptiness. Person. But perhaps the main thing in both versions of the monument is the emptiness that remains. A space reborn after many people in it were horribly destroyed by other people; a world on nameless bones, where some people have not forgiven themselves, and some have not repented. Is there any sense in taking these people to monuments? What is going on in their heads there when they see the monuments? In a word, a powerful metaphor of its kind, if you think about it.

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