Memorials of Others
The Monuments of Former Yugoslavia
Architecture fascinates me. It reflects the beliefs, values, and stories of its time. Unlike fleeting narratives, it lasts, presenting the spirit of an era like frozen mirrors. The stories within these structures change with each viewer, revealing meanings shaped by their perspectives and today’s values.
In my photography, I interact with the beauty of these buildings. I connect with their creators, exploring the values and stories behind their design. Through my lens, I share these layers, expressing how they resonate with me now and here. Each photo acts as a mirror, revealing not just the buildings but also the ongoing relationship between the past and present, and individual and shared experiences
What are the Spomeniks?
I stumbled upon the Spomeniks while exploring the Internet. These striking Modernist-Yugoslav monuments (Spomeniki in Slovenian, Spomenici in Croatian) were created between the 1960s and 1980s across the former Socialist Federal Republic of Yugoslavia. They were built to honor the victims of the national liberation struggle against the Axis Powers—specifically the Nazi and Fascist forces—during World War II.
What captivated me was the stark contrast between the might and power of these monuments and their current state of neglect and decay. As I immersed myself in research, I unraveled a compelling narrative of transformation. Crafted by the nation’s premier artists and architects, the Spomeniks were not merely products of a governmental initiative; rather, they emerged from local and regional efforts aimed at commemorating the struggles of liberation and celebrating the communist-partisan uprising, a main pillar of Socialist Yugoslavia.
The Flower Monument
(Cvjetni spomenik)
Designed by Bogdan Bogdanović, 1966 in Jasenovac, Croatia.
However, with the fragmentation of Yugoslavia came a loss of meaning for these monuments. Their supporting narratives became contested, leading to a deep decline in their condition as they suffered from neglect, destruction, and vandalism during the region's wars of independence.
In recent years, a new and disparate interest in the Spomeniks has surged, fueled by social media. This fresh attention often intertwines “Post-communist Nostalgia” with “Ruins Porn,” lacking the necessary context of their historical significance. Surprisingly, these monuments have now become popular backdrops for commercials, music videos, films, and even reality shows, illustrating a complex relationship between history and contemporary culture.
The Spomeniks’ story could not be fully understood without its political and cultural context.
I learned a great deal from these sources, and I encourage you to do so as well:
- The Spomenik Database
- DESSA gallery’s ARCHITECTURE. SCULPTURE. REMEMBRANCE. exhibition
Monument to the Revolution of the People of Moslavina Podgarić, Croatia
Designed by Dušan Džamonja & Vladimir Veličković, 1967
About this work
"Memorials of Others" emerges from an extensive exploration of the Spomeniks that endure in the former Yugoslavian territories of Serbia and Croatia. A journey between nations that are so similar but also very different, who struggle to this day with the tension between the wars of the past and the reality of living side by side in the present.
Brezovica Spomen-Park, Sisak, Croatia
Designed by Želimir Janeš, 1981
In my artistic process, I rendered the images of the Spomeniks in black and white, employing a technique of blending selective exposures. This choice aims to highlight the distinctive aesthetics of Modernist-Yugoslav artists while revealing the gradual erosion and neglect these monuments face. Observers will notice the remnants of conflict—bullet holes and scars from the Balkan wars—as well as the physical deterioration of the structures. However, these elements do not detract from the photographs' inherent beauty.
Monument to the Uprising of the People of Kordun and Banija
Petrova Gora National Park, Vojnić, Croatia
Designed by Vojin Bakić, 1981
Many Spomeniks, were built in sites of fierce battles between Communist Partisans and Nazi or Fascist forces, often necessitated journeys into isolated forest clearings or atop remote hills. I sought to convey this sense of isolation and estrangement in my work. The Spomeniks stand as relics—fading from view and forgotten in spirit, stripped of the cultural and social narratives once bound to them.
The Broken Ring
Pleso Spomen Park, Zagreb, Croatia
Designed by Marijan Burger, 1978
As an Israeli Jew immersed in the Zionist narrative, framed by national memorial days for the Holocaust, fallen soldiers, and victims of terror, my understanding of the Israeli-Palestinian conflict has been profoundly shaped.
Observing the histories of other nations grappling with prolonged ethnic and religious conflicts and the fluctuations of their narratives and ideologies feels like looking at a mirror through the eyes of an outsider. In this light, the Spomeniks serve as a touching reminder that while narratives and ideologies may drain and flow, the lives lost in their wake can never be reclaimed.
