The Unchanging Representation of the 1956 Revolution in Public Art in Budapest

Abstract

Hungary, and especially its capital, Budapest, is famous for its vast number of public artworks. Unlike their impressive quantity and diversity, their representation techniques are rather monotonous. Apart from nostalgia apparent in those works that represent emotionally charged narratives about the past, we can also trace the anxiety of new forms and interpretations, manifesting itself in the constant over-repetition of well-known symbols and representations. The article investigates possible reasons behind the unchanging character of these public artworks despite the increasing number and variety of procures. In terms of methodology, this paper follows the author’s work on numerous smaller projects and draws on secondary literature, case studies, and content analysis of policy documents and media coverage of particular events. The article presents the memorials dedicated to the 1956 revolution erected in Budapest between 1989 and 2019, focusing on their symbolic and political dimensions as well as physical context. The investigation points out that the range of procurers of public art in Budapest is still not varied, and the lack of expert assessment also prevents contemporary representations. Moreover, the general public does not and cannot play a role in memorialization processes. The observations made in this paper suggest how this particular public art genre manifests nostalgia about the glorious (but failed) historical moment and anxiety of newforms and interpretations.