player: Lola Duval

Pondering over the value and symbolic appropriateness of a monument built during a historical period especially filled with wars, we start to measure the relation between the mass and the symbol – of a great triumph. It is essential not to cover historical evidence and make history more readable; it is also necessary to make people understand that changes incline the planet (tourists from the whole world much more than the local inhabitants) to thump out of joy for victorious army returns which fortunately became the ultimate tribute to the anonymous victims, as it was earlier understood that there is no triumph over war: the war has to be survived.

The objective here is to create an Arch of Celebration far away from a gate, without a wall and without a wing door, which has to be passed without lifting one’s head. The Arch of Celebration will not be an obstacle to view; it is going to be the opposite of a landmark which proudly allows for recognition of city crossings, rather an emptiness, a concave monument, maybe just for paying tribute to the anonymous and unintentionally absent. They are not the ones who left to defend the revolution in 1792 following Rude’s La Marseillaise. They are not less dead, by an accident or an incident, and they are going to remain the anonymous and mute majority of past, present and future wars until the end.
This place calls for celebration because each moment when we celebrate is a moment when we do not conduct wars.

Cet article a été publié le Dimanche 16 mars 2008 à 7.22 et est classé dans architecture, critical fusion, urban art. Vous pouvez en suivre les commentaires par le biais du flux RSS 2.0. Vous pouvez laisser un commentaire, ou faire un trackback depuis votre propre site.