A los héroes que fuimos, 2007

Site-specific installation for Plaza del Ayuntamiento, Pravia. Pine wood and digital audio equipment

A los héroes que fuimos, 2007

Photo: Piru de la Puente

Just as architecture is underpinned by its condition as a means for the manifestation of power and its will for perpetuity, the repertoire of monumental sculpture also makes use of all available ingredients for the visualization of authority, its media and agents. Every tribute hides a message transcending the event itself, seeking to transform the character to whom the homage is paid into an exemplary model.

Adolfo Manzano creates a connection between the essence of the sculptural monument and children. An ironical transfer of the heroic concept used as an educational model, and those archaizing educational guidelines through which children learn to acknowledge a debt of respect and consideration to their elders.

A formal understanding of citizens as the active subjects of a responsible democracy does not preclude the perpetuation of the original outlines of the monumental, which only bring into question the expressive languages of contemporaneity and new projects of public sculpture. Hence the elevation by the artist of a rocking horse to the category of public monument. Behind the rhetoric of its structure, this Trojan horse contains the dissolving and instructing voices of children reeling off a school text expressly made for the occasion, describing, in a pedagogic style, the historic keys of the public monument and its symbolic desire to occupy the most attractive civic spaces.

Adolfo  Manzano

Bárzana de Quirós, 1958

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