This article examines entanglements between past, present and futures of queerness visible in monuments as materialized forms of memory. We distinguish between queer monuments (i.e. positioning, and potentially imposing reified representations of queer history or memory) and the queering of monuments (i.e. challenging heteronormative or otherwise reductionist historical discourses, practices or memorial cultures of remembrance). By reflecting on oscillations between institutionalization, recognition, commodification and counter-memorial practice, we suggest the queering of monuments as an unfinished conceptual trope that embraces the non-conclusiveness of the past and future. Queering monuments nuances underlying tensions about the meaning and aesthetics of queer-themed heritage sites, objects and subjects, which emerge from multi-stakeholder arrangements of monument-making. Our approach chimes with critical heritage and monument studies that emphasize performative, affective-emotional and ghostly dimensions of heritage. By pulling hauntology into queer memorial discourse, we discuss queerness as an embodied and epistemological appearance that can challenge presentist, monolithic and thus potentially exclusive understandings of both heritage and monuments. Through queer temporality we situate our reflections in the public monument ARCUS – Shadow of a Rainbow – Memorial for Homosexuals Persecuted during the Nazi Era in Vienna, Austria (2023). We unpack the conflictual constellations of past and present voices, materialities and memories around the sculpture, using the rainbow motif (which became a symbol for queer people in the 1970s) to remember the persecution of queers during the Nazi Era. The monument begs the question how Vienna seeks to brand itself as a ‘rainbow city’, while continuously displacing queer practices from urban public space. Queering, in sum, embraces ghosts of past and present complex histories, trauma and joy instead of squeezing them into smooth or unambiguous narratives. Queering monuments thus outline a conflict-attuned approach to queer(ing) art, curation and collaboration.
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