Reader opinion Questionable and failed sculptures could be placed in your own park

Opinion|Reader’s opinion

Raw the war against Ukraine has understandably provoked reactions to objects symbolizing the attacking state. Sculpted by folk artist Oleg Kirjuhin (1929–1991) World peace Monument (1989) in Hakaniemi, Helsinki, has been the target of vandalism in the past, but now the protests are not against the late Soviet Union but its equally sad heir, Russia, led by Vladimir Putin.

What should be done to the sculpture donated by the city of Moscow to Helsinki? Would it be worth keeping it as a reminder of the time of Finnishization and a suitable target for protests whenever the wind of aggression is blowing from the east? Or would the work be taken to a foundry for smelting as many hope? A sculpture larger than six meters would be moderately bronze for many purposes.

What about the artistic and symbolic meanings of the work, are they worth preserving? If we weigh the uniqueness of Kirjuhin’s creation, it must be remembered that it is – to put it mildly – a rough pasty from a group of figures in a fountain sculpture by Jean-Babtiste Carpeaux, completed in 1874. The title of the work is Four directions and it adorns the Marco Polo Park in Paris.

In addition to the wind directions, Fontana’s nude female figures depict four continents, Africa, Europe, Asia and America. Racially shaped, supple figures dance in a circle and carry a skull orbited by a zodiac tape. The pool is complemented by mythical seahorses.

Four directions the content was not engulfed by a mere description of the universe. Attached to the ankle of a figure representing Africa is a broken shackle iron, an anti-slavery comment. It was not overlooked by contemporaries.

Kirjuhinin the characters in the work are not flexible. They pose with their stiff knees for their “peace of anger”. The costumes of the figures determine the ethnic background of each. There is a Tatar hat and an Arabic robe. Only one of the characters is a woman. Its role is to present motherhood.

The most visible movement dynamics of the sculpture group are the responsibility of the fists raised in all directions. Peace of mind for once! The ball supported by the figures is adorned with victory leaves resembling the wheat crown of the Soviet coat of arms. The symbolism is thus semi-open: the victory leaves suggest that real peace will come only with the global expansion of Soviet communism.

Kirjuhin’s work was not originally intended for Finland. Other castings of the work are located throughout the Soviet Union. Only one version was chartered abroad, to Finland. By then, the Soviet Union was already nearing its end and socialist realism on the outer periphery of art, if even there.

However, Kirjuhin’s sculpture signified a gift that was difficult to refuse for political reasons. Perhaps it was thought that it would be symbolically hidden in the “right” place, on the outskirts of Hakaniemi, which was ruled by the labor movement.

Sculpture by Matti Haupt Elevating Power (1962) in the Shipyard Park. Picture: Jonne Heinonen / HS

The statues the overthrow or destruction is not worthy of a civilized state. Instead of being abused, Kirjuhin’s work could be referred to as a “park of pastises”. Failed imitations of sculpture and / or works of questionable ideas would be erected there.

World peace as a result, it would be appropriate to initially take Matti Haupt to the Shipyard Park erected Lifting power (1962). It’s a stupid imitation of a classic work: Haupt grabbed a model from Auguste Rodin The gates of hell (1880–1917) from the group of sculptures “Three Shadows” adorning the upper part.

Markku Valkonen

Helsinki

The reader’s opinions are the speeches written by HS’s readers, selected and delivered by HS’s editorial staff. You can leave a comment or read the principles of writing at www.hs.fi/kirjtamielipidekirjoitus/.