“How have these places transformed from monuments to atrocity and resistance into concrete clickbait?
How have these places managed to transform from monuments to atrocity and resistance into concrete clickbait? The story told by Spomenik is that these strange structures must have just been dropped onto these rural areas, most likely by the Big Man, the dictator, Tito himself. According to Gal Kirn, who has written several articles on “partisan art” and whose book Partisan Ruptures was recently published in Slovenia, the opposite is true. “For these, let’s call them modernist monuments, you would be surprised to see that the financing many times came as a combination of republican (Yugoslavia was heavily decentralised into its six constituent Republics) and regional funds, and also self-managed funding, meaning also that enterprises and factories contributed — while much less was given from the federal-state level.” There were competitions and “some public calls which had juries — but the existence of these progressive sculptural objects tells us that more conventional representations-resolutions were not favoured.” That is, in many cases these “UFOs” were commissioned, funded and chosen locally. “