Abstract
In the summer of 2021, the sun melted the King Edward VII Equestrian Monument in Queen’s Park into a heap of bronze, releasing the occupants of the city of Toronto from the sculpture’s (both symbolic and material) colonial power. The sun finally did its work in the wake of artistic engagements that, in previous years, had defied the monument’s authority and challenged its permanence. These aesthetic actions both reveal the value of the equestrian monument to the neocolonial state (as a method of maintaining structures of hierarchy, exclusion and dominance), and offer the city’s occupants opportunities to practice how we can live together otherwise.
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