ABSTRACT
The chapter turns to a historical analysis of the aesthetics of the monuments to the victims of mass atrocities of the Stalinist era in Moscow. It offers a detailed discussion of two competitions for a national monument to the politically repressed in Moscow: the Wall of Sorrow and the Solovetsky Stone. The chapter argues that both monuments have a stake in representing mass atrocities in abstract sculptural terms. In particular, the chapter investigates the conceptual significance of the cube as a three-dimensional object that foregoes symbolic and didactic meanings of commemorative architecture and, instead, embodies the mass of a mass atrocity.
