“Weak Monument”·爱沙尼亚2018年威尼斯双年展展馆丨意大利

“Weak Monument”: Estonia's 2018 Venice Biennale Pavilion examines the implicit politics of everyday architectural forms

By

Justine Testado

“Weak Monument”, the Pavilion of Estonia at the 2018 Venice Biennale. Image © Weak Monument 2018.

For the

2018 Venice Biennale

, Estonia's pavilion,

“Weak Monument”

, explores the explicit representation of the monument and the implicit politics of everyday architectural forms.

Curated by Laura Linsi, Roland Reemaa and Tadeáš Říha, the exhibition takes over the former Santa Maria Ausiliatrice church in Venice with pavement and a monument-like concrete wall that divides the exhibition space in two. As visitors cross through the wall, they'll find a collection of photos, drawings, and models of Estonian and European examples of “weak monuments”. They will then encounter a “wall altar”.

Wall altar. Image © Weak Monument.

Weak Monument Section. © Weak Monument 2018.

“Monuments reside on the margin of the architectural discipline while directly embodying some of its most central qualities, such as relation to the site, delimitation of public space and capacity for representation,” the curatorial team explains.

“In Estonia, the notion of monument appears as a foreign intruder. Its presence is marginal, its tradition non-existent and its form tormented by an apparent cultural displacement. Underscaled, skewed and displanted, half demolished and neglected, monuments stand in their oblivious surroundings as uncanny souvenirs brought from distant lands. The Estonian cultural specificity has been increasingly accordant with a wider contemporary distrust of the monument as a device of oppressive authority,” the curators continue.

Image © Weak Monument.

Weak Monument, Stairs at Hirvepark in Tallinn. Photo © Roland Reemaa 2018.

Weak Monument, Kalevipoeg in Torma, Estonia. Photo © Roland Reemaa 2017.

“Weakness is at once a reflection and a proposition. It is full of contradictions, multiplicity and concealed meanings. In other words, everything that the classical concept of monument is not. It introduces strictly non-hierarchical structures, where politics is only implicit. It can be the pavement beneath the monument, the scaffold that allows for climbing the previously unclimbable; it can be the gap made explicit or the ruin that inspires the imagination.”