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In Moskau erhielten endlose Debatten und neuartige Einbalsamierungstechniken Lenins Körper für zukünftige Generationen von Russen im Mausoleum, wobei es der politischen Führung auch hier nicht gelang, über Lenins Rolle in der neuen russischen Geschichte zu entscheiden.
This wave of inconoclash swept on and over the entire territory of the former Soviet bloc. In Warsaw, it was debated for years whether to keep or destroy the Palace of Culture and Science – Joseph Stalin’s 1952 gift to Poland and one of the tallest buildings in the Eastern Bloc. It was finally decided to preserve the building, but only on the condition that it be “inserted” back into history by adding a gigantic tower clock: a machine to ensure the efficient and cost-effective production of time (“time is money!”). In Moscow endless debates and new embalming techniques have kept Lenin’s body in a mausoleum for future generations of Russians, for it was here also that the political powers could not decide on Lenin’s role in the new Russian history. Russian and foreign contemporary artists arrived with multiple proposals as to what would be the best way to incorporate Soviet monuments into this new history. As in Berlin and Warsaw, these solutions were often radical: some proposed placing a huge neon sign above Lenin’s mausoleum, other suggested crane-lifting the statue of Lenin and keeping it indeterminately hanging in the air (see figure below), confirming again the same indecisive and groundless aspect of iconoclash, and perhaps of liberal democracy. Under the new regimes the question of how to deal with city monuments is still very present: to keep, to relocate, to preserve but alter, or to remove intact?
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