EMPACT presents:

The Monuments

Chapter 8

We Kidnapped the Bridge

27.05.2023 from 5pm - 11pm

Kühlhaus Berlin - kubus
site-specific installation and performance

Performance concept with Mattias Gimigliano

Performance with Mattias Gimigliano, Arturo Villalobos, Bose Sarmiento, Camilla Barbera, Daria Ksenofontova, Gáspár Bálint-Hazai, Gustavo Falabella Rocha, Jean-Charles Vallet, John Phele, Lisa Lee Paulick, Jilian May, Slobodan Malić​, Joao Abraul

Sound with Bowrain and Mario Babojelic

*

With the next chapter, JAŠA continues his research into relationships between different media, emphasising the element of the performing body and presence in dialogue with space as a material and metaphorical element. Recognisable elements of everydayness become parts of an architectural sculpture set in the midst of the space, where the audience walks, creating their own points of view that capture the ephemeral in all of its beauty and potential.

project by JAŠA
Performance concept with Mattias Gimigliano
Sound with Bowrain and Mario Babojelič

Installation assistance Irene Ambrogi

Styling by Yves Eke: Coupé Studio
Lighting with Luka Gyoha
Technical support Denis Metting
Text editing by Noah Charney

Photography by Sophia Gimigliano
Production management and communications by Rosa Lux
Supported by Kühlhaus Berlin
Enabled by The Monuments Patrons Club & Herman & Partnerji
Special thanks to Andrea Wenzler, Dieter Siegel, Lion Siegel, Griša Šoba & Franci Zavrl
The Monuments, Chapter 8 is co-produced by UGM | Maribor Art Gallery in the framework of project EMPACT.

EMPACT presents:

The Monuments

Chapter 7

I Am the Sum of Each (and All) of You Who Crossed My Path

Dedicated to my father

17.3.2023

7 pm - 11 pm

Kühlhaus Berlin – 5th floor

site-specific installation and performance

Performers: Mattias Gimigliano​, ​Tjaša Bucik​, ​Slobodan Malić​, ​Kardelen Deniz Kars​, ​​Jean-Charles Vallet​, ​​Yves Eke​, ​Camilla Barbera​, ​Gáspár Bálint-Hazai​, ​Flora Pauer

*

You want to hear about loneliness?

Do I want to hear more about loneliness?

Do you want to spread the word about my blemished perpetuity?

Again your entwined words, thoughts resembling pure intentions, actions that persist within lingering. Thrust me over the cliff, and I will fly. Falling is somebody else's doing.

I never know when to stop. I never know when to look back. Still, I find this inertia of mine closer to a cage than to a field of freedom.

Heavy words you spill for nothing more than a dime.

Poetry is my raft. Poetry is the purest reflection of my puzzled mind.

So un-puzzle me. 

from the Chapter 7 script

With the next chapter, JAŠA continues his research into relationships between different media, emphasizing the element of the performing body and presence in dialogue with space as a material and metaphorical element. Recognizable elements of everydayness become parts of an architectural sculpture set in the midst of the space, where the audience walks, creating their own points of view that capture the ephemeral in all of its beauty and potential.

project by JAŠA

Performance concept with Mattias Gimigliano

Lighting with Luka Gyoha

Technical support Denis Metting

Text editing by Noah Charney

Cover photo with Rosa Lux (a photographic performance series with JAŠA and Charlie Stein)

Production management and communications by Rosa Lux

Supported by Kühlhaus Berlin

Enabled by The Monuments Patrons Club & Herman & Partnerji

Special thanks to Andrea Wenzler, Dieter Siegel, Lion Siegel, Griša Šoba & Franci Zavrl

The Monuments, Chapter 7 is co-produced by UGM | Maribor Art Gallery in the framework of project EMPACT.

EMPACT initiates a dialogue between artists, sustainability experts, philosophers and social scientists, in order to

explore the importance of empathy as a key to aid people tackle and act upon climate change. Specifically,

EMPACT aims to facilitate artists in creating, through sustainable practices, art that fosters an empathic stance

towards non-human beings and nature; that is, art that encourages people to relate to non-human suffering in a

first-personal manner and thus acquire experiential knowledge about climate change related issues. EMPACT

considers the artist’s own emotional and empathic stance as a key point that will allow them to effectively

incorporate the concept of sustainability in their artistic production.

Funded by the European Union. Views and opinions expressed are however those of the author(s) only and do

not necessarily reflect those of the European Union or the European Education and Culture Executive Agency

(EACEA). Neither the European Union nor EACEA can be held responsible for them.

Produced by WE.ARE Institute

Co-produced by UGM | Maribor Art Gallery, EMPACT | Empathy & Sustainability, Creative Europe

 The Monuments, Chapter 6

Before the Concert

16.12. 2022 7 pm - 22 pm

Kühlhaus Berlin - 5th floor

site-specific installation and performance

“We have been here before,” is how I would usually start. Maybe to get in the right mood. To get you in the right mood. In a way, I keep on writing the same thing, the same situation. I keep on going back to this room with people. Not just any kind of room, usually it becomes “this room,” the one where I’ll place my next thing. My next work of art. When I step into this imaginary room, before I decide on the actual venue, I become more aware of the one in which I find myself right now - my studio. Winter is creeping in outside and through the bricks, as days cut short and night clouds down fast. I hear distant voices of familiar souls downstairs as I wonder if they might evolve into a fight, but just then a train passes by, so I close my eyes. 

The color of my shut eyes was the first abstract painting I ever made. Mid-summer, on a small island in Dalmatia, after a lunch of fish and white wine, we kissed, then I glazed the painting I was working on, and the image made me giggle with content, so I opted that the best way to crown the moment of pure bliss was to throw myself into the sea. As I did, jumping into the blue water, I did so with my eyes closed. It all pinnacled into this vibrant light blue dot. As I surfaced and opened my eyes, it was still there, but changed color and at one point I saw three suns. A real one, and two glowing oranges in front of my eyes.

As I close my eyes right now, I see it all again. It often happens, through different triggers: a smell, your soft skin, the vertigo of music and everything that goes along with it. Like that day, when the city edges burned with violet flames and again I giggled, thinking the image was of my doing, as it appeared in front of my eyes.

“Are we really” asks that familiar voice next to me.

“What?” I respond.

“Are we really here again?”

At the end of the year, and after the success of the first five chapters, JAŠA has prepared Chapter 6. “Before the Concert” defines and occupies the metaphorical and actual space in-between. The space and moment between "before this" and "after that," a space of suspense and potential. 

The Monuments’ individual Chapters are connected through a developing conceptual narrative. JAŠA’s conceptual stance is embedded within individual events as an “attitude” towards the use of space and time. "Have you ever wanted to enter a sculpture?" becomes a fact, a statement, not just a rhetorical question. A work of art shapes and generates reality, even though it is ephemeral. Temporarily built from fleeting intersections, it is completely tangible and sensual.

The Monuments is not an art project that wants to fix all the wrongs of this world and draw out new structures for living. It is an art project which is a self-aware structure organized in a communal way. It is about building ways to survive and thrive in whatever conditions the protagonists find themselves.

Each chapter of The Monuments consists of various narrative parallel and contrasting threads that contemplate closeness, urgency and self-realization through reaction and presence. A live artwork can react directly to the socio-politics of the moment, therefore the initial plan serves as a foundation upon which individual chapters are built. The process of embedding the ephemeral in materials can be seen as the most futile action of expression. At the same time, such a process can result in a work of art that creates its own attitude, rather than following, obeying or reflecting on one. Experiencing an architectural monument or an artwork is naturally finite, since we engage fully only for a short period of time. Material ownership does not define the exclusiveness of the experience of the artwork. What remains is a slot of memory of the work. Bits and pieces of this experience spread out through different layers and tissues in one’s memory. The premise of The Monuments is to structure itself through the simultaneous expansion and contraction of site-specific and performance interventions that define individual chapters over the course of the project that started in December 2021 and will last until December 2023.

project by JAŠA

Sound with Zlatko Širol

Performance concept with Mattias Gimigliano

Lighting with Luka Gyoha

Technical support Denis Metting

Text editing by Noah Charney

Cover photo with Primož Korošec

Supported by Kühlhaus Berlin

Enabled by The Monuments Patrons Club, Herman & Partnerji

Special thanks to Saša Šavel, Andrea Wenzler, Dieter Siegel, Lion Siegel, Griša Šoba & Franci Zavrl

Produced by WE.ARE Institute

Co-produced by Skica Berlin

The Monuments

Chapter 5  - Boys & Guns 

29.04.2022

7pm - 11pm

Kühlhaus Berlin

When was the last time you cheered for a politician the way you’d cheer at a concert? It’s true, it has been a while and we might have forgotten a bit about it–that thrill of an inspirational group experience. But what we really need is just about three seconds to fall right back into it.  

Expression helps us understand and define who we are and how we (co)-exist. And a work of art is a creative act that inspires, rather than dictates or mandates, no matter which medium, color, or material is used. It does not merely reflect or comment on reality. It creates reality. If we fail as responsible social beings, we fail as humans.

In a world of prevailing self-glorification as means of social assertion and realization, narcissism rightly should be ridiculed, stripped down to its shallow bones as mere self-promotion. Especially since it has become synonymous with contemporary politicians and politics. 

Under the umbrella of restrictions due to Covid -19, many authoritarian leaders have launched widespread assaults on democracy as we know it, assaults that threaten to roll back decades of progress. 

The patriarchal backlash has played out across the full spectrum of authoritarian regimes, from totalitarian dictatorships to party-led autocracies to illiberal democracies headed by strongmen. Racism, misogyny, and authoritarianism are not just common comorbidities but mutually reinforcing ills. While the urgency of global warming demands an imminent and collaborative worldwide act, the world seems more divided than ever. 

So, when was the last time you cheered for a politician? Politicians have never been as exposed as they are today nor have there ever been as many tools for self-promotion. Narcissism is a vicious beast. Constant attention-seeking, instead of conscious and responsible leadership, nurtures dangerous emotions and thought processes. Too often power corrupts. Losing a grip on the masses leads men to fuel themselves through jealousy. And the older they get, these soggy balled men, the more they try to compensate. By doing that, they destroy lives. 

Fuck this. 

We can all go to the dark pockets of our minds and formulate destructive thoughts. One can make really meaningful art that emerges from envy, hate, and aggression. But politics? Death, pain, and destruction. We can all create realities. Which one do you choose? A loud voice that erupts from frustration rather than inspiration?

The Monuments
Chapter 4
I Alone
18.03.2022 at Kühlhaus Berlin
6pm - 10pm

“No more war!” she said, visibly irritated and saddened, as the latest breaking news flooded through the television. “Will there ever be a generation that will not know war?” My grandmother was an educated woman, a widow who lost her husband early on and was left to provide for four children on her own in 1950s Yugoslavia. She survived the Second World War when so many did not. She fought the Nazi occupation alongside the Partizans. She stuffed our young ears with stories of loss, pain, hunger, a laundry list of daily atrocities under the ruthless and inhumane Nazi occupiers. When we would stay with her for summer vacations, she would re-educate us, as she liked to call it. In her eyes, we’d been brought too loosely, too liberal, in an unrealistic environment. She, too, was ruthless in her determination to convey to us her version of the truth about the world. Her daily routines were militaristic. “You always have to be ready. You never know when it will destroy you and your world,” she would often say. I remember her organizing cans in the small dark room where she would store everything from empty yogurt cups to potatoes. But these were not the only things she collected.

When she died, the family discovered her hidden diary. Its contents sparked a string of heated discussions and arguments about what and who it portrayed. The diary revealed a completely different image of her than what we’d known. The collection of stories, romances, and escapades made everyone question the truth about her. Upon closer study of the content, various discrepancies were noted, injecting doubt. We’d thought she never traveled beyond the borders of her hometown.

All of this pointed me in a different direction: to bring back to life the painting that had always been the centerpiece of her living room. For I now understood that it had been the source of her inner landscape.

I began collecting fragments of what I believe could have been, or were, fragments of her memory. In order to connect these fragments, to sew them into a whole, I decided to undergo a transformation. I became her during the first performance of I Alone at Künstlerhaus Gradz. I will do the same for 18.3.2022.

Chapter 4, I Alone operates with intimate details that evoke universal feelings and mirror the spectator's own imaginative discourse. The project weaves together art pieces, personal objects, and the story of the diary into an installation and performance – a map of feeling and yearning that stretches through the whole piece. Through the joining of the fictitious and the real, the installation and its performative action, the art piece creates a situation that reveals the hidden imaginary world of a deceased person and, at the same time, brings forth the role of imagination in confronting the objective reality of life.
-

Each chapter of The Monuments consists of various narrative parallel, and sometimes contrasting, threads contemplating closeness, urgency, and self-realization through re-action and presence. A live artwork can react directly to the socio-politics of the moment, therefore the initial plan serves as a foundation upon which individual chapters are built. The process of embedding the ephemeral in materials can be seen as the most futile action of mere expression. At the same time, such a process can result in a work of art that creates its own attitude, rather than following or obeying one. Experiencing an architectural monument or an artwork is naturally finite, since we engage fully only for a short period of time. Material ownership does not define the exclusiveness of the experience of the concept of the artwork. What remains is a slot of memory of the work. Bits and pieces of this experience spread out through different layers and tissues in one’s memory. The premise of The Monuments is to structure itself through the simultaneous expansion and contraction of site-specific and performing interventions defining individual chapters over the course of a year.

The Monuments is a long-term project by JAŠA at Kühlhaus Berlin. An immersive work of art composed of a series of site-specific interventions and durational performance pieces divided into 17 individual chapters. As a whole, it functions as a conceptual narrative developed in the spaces of Kühlhaus Berlin. Individual chapters function as stand-alone artistic projects, and as a string of events, each connected to the previous and future ones.

Have you ever wanted to dance into a painting?

Project by JAŠA
Sound by JAŠA with Zlatko Širol
Performing:
JAŠA
Produced by WE.ARE Institute
Supported by Kühlhaus Berlin
Enabled by The Monuments Patrons Club
Cover photo by Primož Korošec
Text editing by Noah Charney
Technical support Denis Metting
Lighting by Luka Gyoha
Sound consulting by Zlatko Širol
Production management and communications by Rosa Lux
Special thanks to Andrea Wenzler, Dieter Siegel & Griša Šoba

The Monuments / Chapter 3  / For All Tomorrows’ Songs

18.02.2022 / 6pm - 10pm / Kühlhaus Berlin

Upon entering Chapter 2 of The Monuments - The Last Dolphin, visitors were kindly asked to sit at the desk just beyond the entrance where, two at the time, they were interviewed by the artist and his collaborator. The scope of the initial interview was to divide people into two groups: some received a blue sticker in the shape of a dot and others got a yellow one. Questions revolved around one’s fear of closed spaces and possible anxieties provoked by extreme closeness to others. After the completion of the interview, without explaining what the colors meant, the visitors were instructed either as to which section of the space they could move into or to wait for further instructions. Before getting up, each visitor was presented with a pencil and a choice of  two colors of Post-It note paper, blue and pink (attuned to the colors of the light in the space), and kindly asked to write down what their last message would be, if everything were to end tomorrow, if they would die, either addressed to their loved ones or to humanity.

In 2018, during a project that Jaša completed in Barcelona, he organized a workshop for children who stayed in the city during the summer vacation. In it, he asked them to draw what they wished for the world to become. They drew on the pages of one of the most right-wing radical newspapers in the area. The workshop was entitled All Tomorrows’ Songs. A similar action will occur in Berlin during the week before the opening.

In Chapter 3, the development of the title For All Tomorrows’ Songs is based on Jaša’s conceptual perception of a gesture as an art form and as a necessity either in juxtaposing  a child’s unfiltered dream upon society’s reality and its political extremes, or confronting somebody with an uneasy question about one’s end. These gestures maintain their forms within the situations in which they were created. Anything that comes later on can become an interpretation of what occurred. When gathered as relics or fragments of something that happened, within a new situation each element becomes part of a new form, triggering a new reality. Excitement comes from recognizing or discovering  elements that appear, sound or feel either familiar or new, but especially because they speak to fresh ears. 

The beauty lingers within persistence.

Each chapter of The Monuments consists of various narrative parallel, and sometimes contrasting, threads contemplating closeness, urgency, and self-realization through re-action and presence.  A live artwork can react directly to the socio-politics of the moment, therefore the initial plan serves as a foundation upon which individual chapters are built. The process of embedding the ephemeral in materials can be seen as the most futile action of mere expression. At the same time, such a process can result in a work of art that creates its own attitude, rather than following or obeying one. Experiencing an architectural monument or an artwork is naturally finite, since we engage fully only for a short period of time. Material ownership does not define the exclusiveness of the experience of the concept of the artwork. What remains is a slot of memory of the work. Bits and pieces of this experience spread out through different layers and tissues in one’s memory. The premise of The Monuments is to structure itself through the simultaneous expansion and contraction of site-specific and performing interventions defining individual chapters over the course of a year.

The Monuments is a long-term project by JAŠA at Kühlhaus Berlin. An immersive work of art composed of a series of site-specific interventions and durational performance pieces divided into 17 individual chapters. As a whole, it functions as a conceptual narrative developed in the spaces of Kühlhaus Berlin. Individual chapters function as stand-alone artistic projects, and as a string of events, each connected to the previous and future ones.

Have you ever wanted to walk into a sculpture?

Join us at the 4tables event on 19.2.2022 by booking your ticket here.

The Monuments / Chapter 2 / The Last Dolphin

21.01.2022 / Kühlhaus Berlin

"There’s nobody left but us in this (room). "

The Monuments is a long-term project by JAŠA at Kühlhaus Berlin. An immersive work of art composed of a series of site-specific interventions and durational performance pieces divided into 17 individual chapters. As a whole, it functions as a conceptual narrative developed in the spaces of Kühlhaus Berlin. Individual chapters function as stand-alone artistic projects, and as a string of events, each connected to the previous and future ones.

Each chapter consists of various narrative parallel, and sometimes contrasting, threads contemplating closeness, urgency, and self-realization through re-action and presence. A live artwork can react directly to the socio-politics of the moment, therefore the initial plan serves as a foundation upon which individual chapters are built. The process of embedding the ephemeral in materials can be seen as the most futile action of mere expression. At the same time, such a process can result in a work of art that creates its own attitude, rather than following or obeying one. Experiencing an architectural monument or an artwork is naturally finite, since we engage fully only for a short period of time. Material ownership does not define the exclusiveness of the experience of the concept of the artwork. What remains is a slot of memory of the work. Bits and pieces of this experience spread out through different layers and tissues in one’s memory. The premise of The Monuments is to structure itself through the simultaneous expansion and contraction of site-specific and performing interventions defining individual chapters over the course of a year.

Have you ever wanted to walk into a sculpture?

Project by JAŠA
Sound by Kalu

Performer:
Noemi Veberič Levovnik

Produced by WE.ARE Institute
Supported by Kühlhaus Berlin
Enabled by The Monuments Patrons Club
Bar stocked by KYRÖ
Cover photo by Primož Korošec

The Monuments | Chapter 2 | The Last Dolphin will take place on Friday, 21.01.2022 from 18:00-22:00 at Kühlhaus Berlin.

Please note that attendance is subject to the 2G+ rule.

The Monuments

Chapter 1

Silent Whispers of Thunder

10.12.2021

at Kühlhaus Berlin

The Monuments / Chapter 1 / Silent Whispers of Thunder 

Project by JAŠA

Sound by Kalu

Performers:

Giulia Facciolo

Melissa Ferrari

Noemi Veberič Levovnik

Anja Mejač

Text editing by Noah Charney

Technical support and execution Denis Metting with Jan-Moritz Meyer and Cyprian Iannino

Lighting by Luka Gyoha

Production management and communications by Rosa Lux

Residency management by Jernej Gregorič

Rider: Felicitas Schirow with Liberty

Sound consulting and support by Zlatko Široki

Produced by WE.ARE Institute

Supported by Kühlhaus Berlin

Enabled by The Monuments Patrons Club

Special thanks to Andrea Wenzler, Dieter Siegel, Griša Šoba & Leon Siegel 

Welcome to Chapter 1 Silent Whispers of Thunder, the beginning of The Monuments, a project that will unfold over the course of 17 chapters, through the remainder of 2021 and 2022, at Kühlhaus Berlin. Each chapter will consist of various narrative parallel, and sometimes contrasting, threads contemplating closeness, urgency, and self-realization through re-action and presence. Blurring the stage and treating performing elements as protagonists of the ongoing action, the public effortlessly becomes part of the work. One of the main focuses of the project is the idea of the divisions between the controlled, the structured, and the spontaneous. There is resonance in the silences, the voids that connect the elements of ephemeral situations--moments within the artwork. Obvious situations, like performance interventions, spatial interventions, and individual works of art, entwine with spread-out elements pushed into the space of the spectator’s movement and perception. The results will encapsulate moments of recollection of both “obvious” and “less obvious” facts that the audience will be able to explore as a whole only after the durational events, through chatting with the other participants and flipping through their own memories. The final work will coagulate into a collection of the moments embraced through each of the 17 chapters.

Through the various stages of worldwide lockdowns, we have observed the absence of public life. In contrast to the chilling emptiness of the streets, looking up, one could see a sea of illuminated windows, a river flowing with all possible pockets of life. For life, of course, is a “durational performance” of its own. The Monuments will reflect this in an art form. Each visitor entering the installation for a given event will become part of the artwork--this social engagement is a necessary component of completing it. 

A live artwork can react directly to the socio-politics of the moment. The initial plan serves as a foundation upon which individual chapters will be built. Each chapter will carry palpable tension, urgency, and the constant uncertainty of immediate social-political re-action layered upon the initial plan. These two approaches provide the groundwork of the conceptual premise, the project’s main charge: the ephemeral and the constructed.

The process of embedding the ephemeral in materials that will outlive us is what makes a work of art create its own attitude. Experiencing an architectural monument or an artwork is naturally finite since we engage fully only for a short period of time. Material ownership does not define the exclusiveness of the experience of the artwork. What remains is a slot of memory of the work. Bits and pieces of this experience spread out through different layers and tissues in one’s memory. The premise of The Monuments is to structure itself through the simultaneous expansion and contraction of site-specific and performing interventions defining individual chapters over the course of a year.

The Monuments trailer video

Credits:
Video by JAŠA
Original score "The Dream" by Kalu
Camera by Primož Korošec
Edit by JAŠA
AE, color grading & animation by Rosa Lux
Camera assistant Tatiana Dron
With an apperance by Vanja Njegovan
Digital video, 12:35'
© JAŠA, 2021

THE MONUMENTS THROUGH NFTs

ONE ART PROJECT. 
17 CHAPTERS AS 17 INDIVIDUAL EVENTS

STARTS THIS AUTMUN IN BERLIN

LINK TO THE MONUMENTS NFT’S ON OPENSEA

The Monuments is a new art project by JAŠA, an immersive work of art, a series of site-specific interventions and performance pieces, 
a gesamtkunstwerk lasting one year and a half. The project is divided into 17 Chapters, each as a stand-alone event. Corresponding to each individual Chapter, 16 Fragments as NFTs will be dropped sporadically. 17th fragment remains in the artist’s estate. At the start of the project, each Fragment will be presented with its unique reverse side.  16 Fragments will each function as 16 stand-alone works of art, but also as 16 components of a final work of art, The Monuments Mother Image.

Throughout JAŠA’s work, his artistic visions have been structured around a focal point, an image he calls “the mother image.” Within this image, he locks the conceptual and aesthetic foundations from which the entirety of the project takes form. Through this method, he embraced various spaces with his use of painting applied using a wallpaper technique. Applying this conceptual method to other media eventually molds the space and the element of duration into a gesamtkunstwerk.

In his own words: “An idea is nothing but a tiny fraction of time which can trigger a consequent reality. I love the idea of a tiny drop of pigment which can tint a whole bottle of crystal clear water into a certain shade of color. I always hide the origin, my intentions, within developing projects, placing them into one work of art: an image. It is like embedding the most incredible architectural form into a singular brick, which becomes the cause of it all.”

In the case of The Monuments, the method will be reversed: the project’s timeline and its 17 chapters will serve as visual and conceptual components that will structure and conclude in the final artwork - The Monuments Mother Image.

As each individual chapter will breathe as an autonomous project, its entirety will be equally imprinted into a singular image: Fragments (no. 1- 16) and as sections of The Monuments Mother Image.

Each chapter will be distilled through Jaša’s conceptual and creative methods into one stand-alone work of art, a digital image - the Fragment. Each Fragment will be of the same size.

The final work, The Monuments Mother image, will consist of 16 individual images as Fragments that are available for sale to members of the Monuments Patrons’ Club plus a 17th fragment, which will remain in the artist’s estate and will bind (as an under-layer) and define the final outcome of The Monuments Mother Image.

Each member of The Monuments Patrons Club will be offered the chance to purchase an individual Fragment. Each member of the Patrons Club will become one of the 16 owners (the artist is the 17th) of the final work of art - The Monuments Mother Image.