From the editors
CULTURE IN A "FOREIGN" SPACE: AN INTRODUCTION
TO GENIUS LOCI KALININGRAD AND KOENIGSBERG
KALININGRAD IN THE YEAR 2020 - A NOT QUITE FICTITIOUS CONVERSATION
DESTINATION - KALININGRAD
FROM KALININGRAD DICTIONARY
MAP OF THE CITY
FORMA URBIS. SYMBOLIC PARALLELS
IN OR OUT
THE RAILWAY STATION AND ENTRANCE TO THE CITY OF KALININGRAD
BINARY STATES OF "K" CITY
Eugeny Umansky, Karpenko-Karpenko
IN THE CENTER
Andrei Monastyrsky, Sabina Haensgen
EMPTY CENTER K.
FOLLOWING SILENT WORDS
FA+ (Ingrid Falk & Gustavo Aguerre)
THE MYTHICAL FOUNDATION OF KALININGRAD
PRETERITION: KNEIPHOF ISLAND
THE BRIDGES AND "THE PREGEL'S ODOR"
John Craig Freeman, Greg Ulmer
IMAGING KALININGRAD: THE SEVEN BRIGES OF KOENIGSBERG
FORGOTTEN KANT AND THE KANT-BRAND IN KOENIGSBERG
KANT'S BRIDES: A READYMADE PHOTOGRAPHIC CHRONOTOPE
THE CATHEDRAL AND KANT FOR EVERYONE, OR IS GOD FEARSOME WITHOUT MORAL
THE CASTLE OF SOVIETS
THE ROYAL CASTLE
A WHITE SEAGULL ABOVE THE CITY: THE SYMBOLS OF THE OLD NEW CITY
WRITING OF DREAMS
LIGHT UP DOM SOVETOV
THE HOUSE OF SOVIETS
THE MOST PROFOUND SECRET OF ONE KOENIGSBERG LAWYER: HOFFMANN
A LEGEND ABOUT FIVE LITTLE ULRICHEN AND FERRYMAN ANDRE
KOENIGSBERG-KALININGRAD. THE TASTE OF MARZIPAN
THE COUNTRY OF PENSIONERS - OR THE GERMANS
CONCRETE ELEMENTS OF KALININGRAD
THE UNDREAMED OF CITY
TOWN PLANNING MATHEMATICS
MOSKOVSKII PROSPECT & THE SHADOWS AROUND ALTSTADT
OUR TOWER Ivan Chechot
THE TOWER-REDAN "KRONPRINZ"
THE KRONPRINZ TOWER. Projects for the National Centre for Contemporary Arts by Students of the Institute for Theory and Design in Architecture (Braunschweig, Germany)
THE AMBER ROOM
BASTIONS IN DIAMONDS AND EMERALDS
THE HOUSE OF MACHINERY: THE RECONSTRACTION AND EXPLOITATION OF THE POPULATION
V.I.P. (Very Interesting Person)
PLACE OF EXECUTION
TRACES OF A VIRTUAL HISTORY IN A VERY REAL CITY
CHRIST THE SAVIOR CATHEDRAL
LIFE AND EGGS (A sketch about trams)
A STROLL THROUGH THE CENTER
IN THE FLOW: FOUNTAIN SEASON
WILD WEST OF RUSSIA
ANIMALS IN KALININGRAD AND A MOSAIC
KOENIGSBERG'S SPIRITUAL HERITAGE IN TONS, ITEMS AND SACKS. From the history of lost and found cultural heritage
WE ALL ARE GOING TO BE THERE
MONUMENT TO 1200 GUARDSMEN IN KALININGRAD
MATTER AND SPIRIT
FRAGMENT OF A SYMPHONY FOR SLOW READING: IVANOV AND HIS SURROUNDINGS
ATTIC OF RECOGNITION
MAN AND WOMAN
THE SMALL SCULPTURE "GIRL"
ON THE STREET
Igor Isaev, Dmitrii Demidenko
THE FIRE HYDRANT
Kalle Brolin, Kristina Muntzing
THE WATERFALL HERACLES' BOLT
V.I.P. (Very Interesting Person)
NATASHA POTERYASHINA. Inteview
TO BE IN THE MOOD FOR PACKING
Dmitrii Bulatov, Pavel Savel'ev
ACEPHALUS: OPTICAL MODELS
LIGHT THE CRYSTALS OF KALININGRAD!
THE BRIDGE THAT THE "RUSSIANS COULDN'T PULL DOWN"
THE ROAD TO BERLIN: FROM EPIC TO BANAL. Interview with Valerii Bugrov
HOAR-STONES AND BOUNDARY SYMBOLS
MUSCOVITES ARE HANGING
BEFORE THE CITY
Aleksandr Sologubov / Kaliningrad, Russia
A monument will eventually be erected to each of us. Hic jacet…. But for few will it be erected in our own lifetime.
It is difficult to comprehend what is a monument and what is not. It is obvious that above all a monument is a sign of social status. They can be erected, not erected, or dismantled. It is very important to not erect and to dismantle monuments, since if you only erect them it will soon resemble the situation of welfare recipient -- as you won't have sufficient financial resources to maintain them.
There is a bronze figure of a bearded man standing on a polished marble pedestal with a plaque on it. He is nicely dressed and surrounded by flowerbeds. Is this a monument? Yes, definitely! And if there is a figure of an elk standing on a polished marble pedestal also adorned with a plaque, or simply a plaque on a building - or even a ship - could any of these be regarded as monuments?
Stop! Let's limit ourselves to cultural monuments and images of people.
Such monuments are like people. There are "our" and "their" monuments, beloved and unpopular, military and civil, erected to Party members and to independents, planned and spontaneous, those of federal importance and of local significance.
To give a monument federal status is awarding it a prize, while to strip it of federal status is a punishment. In the same manner three Kaliningraders born in 1958, 1959 and 1961 lost their federal status in 1997 and became recipients of local welfare benefits; recently one of them even lost his residency permit and is now a homeless person.
It is possible to say that registration is a monument's human quality. Registration is of prime importance. When a monument is welcome, it will be registered at a good place with all facilities, such as fountains, a marble pedestal, nearby small shops and bus stops, and nice neighbors. This place of residence is usually official and can't be privatized. Lord forbid that they lose their registration! There is only one way out - to be a tramp at the mercy of fate. The monument could be melted down or buried somewhere. For example, one post-war Iogannovich is registered at the pedestal of another (pre-war) Iogannovich. So, when the first one returned from melting down and further cloning, he claimed for his legal place of residence. The second received another accommodation, not so luxurious, but quite modern. What about Il'ich? He occupied Vissarionych's pedestal when the latter was "evicted". He had been living there for about 50 years, but now his accommodation has been dismantled. However, he has been promised compensation: to be repaired and given a million his relocation.
All Wilgelmoviches, Fridrikhoviches, Karloviches, Iogannoviches have left former Konigsberg. But there came Il'iches, Vissarionyches, Illarionoviches, Ivanoviches, Iogannoviches, Vasilieviches, Daniloviches, Serggeeviches, Stepanoviches, Alekseeviches… A new symbolic environment has emerged. A short while ago it was homogeneous, but now it is absolutely diverse. This environment is interconnected with a local history that is now in the process of formation.
…I perceive my goal as the following: to put there marking 'poles' of Russian presence. When one notices a plaque to a famous pilot, he or she becomes curious and seeks out more information. The same story with the Gumilev or Akhmatova monuments, for example; if someone reads their books, it means that these people are not lost for Russian culture. By the way, a reporter once asked me: "Was Gumilev a dancer who left for England?"
Translation by L. Shevchenko