Visual Memory and Oblivion

Their focus is on the significance and use of (national) art from the nineteenth century onwards, especially during the Second World War and in the individual (socialist) countries. The critical examination of the different visual articulations of historical memory and of different complexes of "dissonant heritage" follows a multidisciplinary approach, including art history, cultural memory studies, historical visual studies, literary criticism, architectural history and heritage protection.

Monuments - Memories - Cities: an interdisciplinary examination of memory culture

Over the past three years, monuments have been toppled or re-coded around the world, the latest against the backdrop of the war in Ukraine. The contributions in this volume address the complex network of relations between monuments - memory - city in Central- and South-Eastern Europe from a long-term perspective. Their focus is on the significance and use of (national) art from the nineteenth century onwards, especially during the Second World War and in the individual (socialist) countries. The critical examination of the different visual articulations of historical memory and of different complexes of "dissonant heritage" follows a multidisciplinary approach, including art history, cultural memory studies, historical visual studies, literary criticism, architectural history and heritage protection. The case studies on cities located today in Croatia, Georgia, Germany, Italy, Northern Macedonia, Romania, Russia, Serbia, Slovenia and Ukraine were written by: Robert Born (Oldenburg), Daria Brasca (Milano & Zürich), Dragan Damjanovic (Zagreb), Irene Giviashvili (Tbilisi & Florence), Donata Levi (Udine), Nenad Makuljevic (Belgrade), Barbara Kristina Murovec (Florence & Munich), Patricia Pocanic (Zagreb), Milan Popadic (Belgrade), Helena Rozman (Krsko), Giovanni Rubino (Rome), Anke Schlecht (Nürnberg), Svetlana Smolcic (Belgrade), Dirk Suckow (Berlin), Iain B. Whyte (Edinburgh), and Tanja Zimmermann (Leipzig). Erscheint zugleich als Bd. 72 in der Reihe Veröffentlichungen des Zentralinstituts für Kunstgeschichte in München.