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A Fragment of the Berlin Wall in the Tentre De Commerce Mondial De Montréal': Notes Toward a Theory of the Public Artefact at the "End of Historyrr

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A Fragment of the Berlin Wall in the Tentre De Commerce Mondial De Montréal': Notes Toward a Theory of the Public Artefact at the A Fragment of the Berlin Wall in the Tentre de commerce mondial de Montréal': Notes Toward a Theory of the Public Artefact at the "End of Historyrr Marc James Léger A Thesis in The Department of Art History Presented in Partial Fulfilment of the Requirements for the Degree of Master of Arts at Concordia University Montréal, Québec, Canada September 199 7 @ Marc James Léger 1997 National Library Bibliothèque nationale 1+1 of,", du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON KIA ON4 Canada Canada Your iSk Votre @ference Our Ne Notre refdrence The author has granted a non- L'auteur a accordé une licence non exclusive licence dowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thése. thesis nor substantid extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othenvise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. iii ABSTRACT A Berlin Wall Fragment în the 'Centre de commerce Mondial de Montréal': Notes Toward a Theory of the Public Artefact at the "End of History" Marc James Léger The contemporary critical art practices of situational aesthetics and site specificity have affected and transformed the production and reception of monumental public art. This thesis examines the placement of a fragment of the Berlin Wall in the 'Centre de commerce mondial de Montréal' in light of the knowledge produced by these political and aesthetic - practices. In keeping with materialist approaches to the study of art as well as to urban space, the production of the Wall fragment as a public monument is understood in terrns of social relations and representation. By paying close attention to multiple spatial, aesthetic and social contexts, it is argued that the placement of the fragment in the CCMM yields specific meanings and preferred readings. While the interpretation provided in this thesis is situated and partial, it nevertheless makes the claim that the site chosen for this example of public art puts into question and undermines the very notion of the public sphere, that is, the same political ideal which establishes and legitimates "public art" as a social practice. ACKNOWLEDGEMENTS 1 am grateful to those people that have done the most in creating opportunities that have opened up the range of possibilities for this work, 1 would particularly like to acknowledge the generous encouragement of my thesis supervisor, Dr. (lanice Helland, as well as that of professors Claude Lacroix and David Tomas. The commitment of these individuals to critical education has more than anythinq sustained my enthusiasm for learning. I would also like to acknowledge the teachings and support of professors Joan Acland, Jean Bélisle, Ernestine Daubner, Brian Foss, Loren Lerner, Catherine MacKenzie and Christine Ross. Above all, this work is dedicated to my family and especially to Rosika Desnoyers who has untiringly given her attention to the editing and questioning of my work. This thesis could not have been accomplished without her help and understanding. Finally, 1 want to acknowledge the financial support of Concordia University in the awarding of a J.W- McComell Mernorial Graduate Fellowship as well as the Art History Department's granting of a David Rubin Research Award, v TABLE OF CONTENTS Page Introduction ................................ 1 Public Aesthetics and Spatial Theory Chapter One ................................ 20 Meaning and Monumentality: the Specificity of the Berlin Wall Chapter Two ................................ 37 Critical Public Art, Critical Democracy and the Contradictions of Public Representation Chapter Three .............................. 75 The CCMM Context: the Ideology of Redevelopment Conclusion ................................ 116 After the "End of History" Bibliography .............................. 129 Illustrat ions Appendix I.,.............,..............--199 Appendix II .....-......................... 205 Appendix III .............................. 215 Appendix IV ............................... 227 Appendix V.,...........................-..232 ILLUSTRATIONS Barbara Kruger, Untitled (We Donlt Need Another Hero) 1986, Berkeley, CA. In Sussman, 12. Fragment of the Berlin Wall in the 'Centre de commerce mondial de Montréal.' Montreal Public Art Collection. Photo by Robert Etcheverry in Vie des Arts #157 (Winter 1994-1995) 8. Fragment of the Berlin Wall in the Government Conference Centre, Ottawa. Photo by Wolf Studios. Berlin Wall segment ~0.61 for sale at auction, Monte Carlo, 1990. Die Mauer: The Berlin Wall, Special Auction. "Mauer-Sprecht," January 7, 1990. Photo by Heinz J. Kitzdas in Berliner MauerKunst, 77. Selling Berlin Wall Souvenirs in New York City. Michael Marriott, "Sale of the Century! Bits of Cold War, Just $7 an Ounce," New York Times (22 November 1989) BI. Photo by Bill Swersey. Post-Graffiti: Top, "Statues of Liberty," by Thierry Noir and Christophe Bouchet; Bottom, work by Keith Haring. Photos in Kuzdas, 44. Graffiti influenced by comics and neo-expressionism- Painted by Cremenz, detail of panorama. Photo in Kuzdas, 68. Rainer Fetting, Van Gosh and Wall, 1978, oil on canvas, 79.2 x 98.9". Photo in Rogoff, The Divided Heritase, 313. Jonathan Borofsky, Ruririins Man, 1982, Berlin Wall. Photo in McShine, 187. The "white stripe" painted by peace activists in late 1986 between Mariamenplat2 and Potsdamer Platz. Photo in Kuzdas, 66. 1917 bronze replica of Houdon statue of George Washington outside the Art Institute of Chicago. Photo in Buchloh, ed, Michael Asher, 212. Michael Asher installation, Art Institute of Chicago, 1979. Photo in Buchloh, ed, Michael Asher, 221. vii Illustrations... 14. Krzysztof Wodiczko, projection onto Lenin Monument, Leninplatz, East Berlin, 1990. Photo in Public Address: Krzvsztof Wodiczko, 158. 15, Komar & Melamid, What 1s To Be Done With Monumental Propasanda? Lenin Mausoleum proposa1 Photo in Weschler, 61. 16. Mark Lewis, On the Monuments of the Republic #2, 1990. C-Print, 218 -4 x 188cm. Photo in Watson, 37- 17. Mark Lewis, What 1s To Be Done (Lenin) facing Roger Langevin's Debout (Félix Leclerc) in Parc Lafontaine. Photo by Jacques Nadeau, Le Devoir (12 February 1991) B3. 18. Roger Langevin, Debout, 1989. Photo by Marc Léger. 19. Jochen Gerz and Esther Shalev-Gerz, Monument Asainst Fascism, Harburg, 1986. Photo in Young, The Texture of Memory, 29. 20, Centre de commerce mondial de Montréal with Montreal Stock Exchange in background. Photo courtesy of Arcop. 21. St. James Street, c. 1910. McCord Museum, Notman Archives, #MP207278 (1) (not-Notman). 22, Advertisement in publicity brochure. Livins in Old Montreal: A love affair that besins anew evervdav of -- - - the year (Montreal: Société de développement de Montréal, 1996). 23. CCMM under construction. Photo by Jean Goupil, La Presse (27 October 1988). 24. Robert Mitchell building, 1982. Ville de Montréal, Répertoire ....: Architecture Industrielle, 22. 25. Nordheimer building, 1896. McCord Museum, Notman Archives, #ll4,796-II (Notman). 26. CCMM proposal, St. Jacques Street elevations. Publicity brochure, Société de promotion du CCMM. 27. CCMM proposal, St. Antoine Street elevations. Publicity brochure, Société de promotion du CCMM. viii Illustrations... 28. Gaspard-Joseph Chaussegros de Léry, Plan of the tom of Montreal (1725). Reproduced in Lambert and Stewart, 23-24. 29. Archaeological "superpositions." Ethnoscop, Quadrilatère McGill ..., appendix. 30. CCMM arcade, McGill Street entrante. Photo Marc Léger. 31. Interior arcade, 'ruelle des Fortifications.' Le CCMM: Un monde nouveau- 32. Interior arcade, 'ruelle des Fortifications.' Le CCMM: Un monde nouveau. 33. Eaton Centre arcade, Montreal. Publicity pamphlet, courtesy of Eaton Centre. 34. 'Passage Choisseul' (arcade), Paris (1825-1827). Photo in Geist, 512. 35. Advertisement, Ministère des Affaires Internationales, in La Revue Exportations Ouébec (Nov/Dec 1995) back cover . Venez dEcouvrir le Centre de commerce mondial de Montreal 5I; le nouveau monde des affaires et point névralgique du commerce mondial de $ Montrial. Entrez dans une extraordinaire ville interieure au coeur de la vie $ montréalaise. ZW. Affaires internationales + Congrès + Missions commrrciales + Expositions + Bureaux + Boutiques + ~e&urants + Hôtel Inter-Continental Montréai. ".g i Corne and discover the Montreal World Trade Centre -CI the nw era of business and ivionueal focal point For incemational crade. Step $ wiihin. and discover an extraordinq neighbourhood in the hem of Montreal. 5 < Incetnationri1 Al'fairs + Congress + Commercial Missions + Exhibits u + Oftices + Boutiques + ~&staumncs4 Hôtel Inter-Continental MontrZal. 2- Voyez un segment du Mur de BerIin (collection d'art public de la ville de ~MontréaI) See a segment of the Berlin Wall (collection of public an of the City of Montreal) INTRODUCTION Whoever has emerged victorious participates to this day in the triumphal procession in which the present rulers step over those who are lying
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