We are together in the fight against fascism – Park Pobeda – Moscow

Posted on 02/05/2025 by Michael

: We are together in the fight against fascism

We are together in the fight against fascism

This particular sculpture, impressive as it is, poses and challenge to me when being asked ‘What is a piece of Socialist Realist art?’ Art can be realist without having any reference to socialism even though it might represent a worker or workers sympathetically. But what takes one piece of work from a mere representation of a person or an event to a different level, to imbue it with a meaning that is over and above what is merely in front of the viewer.

My simple interpretation of that has been the intention of the artist at the time of the work’s creation, the intended audience and what was hoped would be achieved by it’s presentation to the public. But these intentions and hopes are not concrete. They can exist in one period of time but can just disappear if (and unfortunately) or when the social system reverts to what it was pre-Revolution – as happened in the Soviet Union (and all the other post-Socialist societies).

But if, as it did, Revisionism took control soon after the death of Joseph Stalin in 1953 can those works of art produced after that date until 1991 still be considered works of Socialist Realism? They were still produced for the same audience as were the target in the 1930s and 1940s but for a different purpose, after the mid-50s the aim was to project an image of being in favour of revolutionary change whilst at the same time doing everything practically to avoid such a transformation occurring.

The history (or more accurately to say, its genesis) of this particular monument is quite unique and exceptional, fitting in more with the political agenda of the Russian Government at the time rather than a desire to remind future generations of the sacrifice made by those during the Great Patriotic War or the desire to foment a willingness of self sacrifice amongst a population who are attempting to build Socialism.

On 19th December 2009 a Soviet era monument, the Kutaisi Glory Memorial, which had been unveiled in 1981, was blown up by Georgian fascists under the cloak of ‘nationalism’ and ‘reconstruction’ of the city. The location of the monument was to be the site of the new Parliament building.

The original plan was for the monument to be destroyed on 21st December (coincidentally the anniversary of Stalin’s birth) and a mass demonstration had been planned to oppose this desecration of the memory of all those Soviet citizens (including those from Georgia) who had died in the fight against fascism. The decision the destruction should take place two days earlier than originally planned is considered to have made to circumvent any opposition. Because the task was rushed it was botched with pieces of concrete flying all over the place, some of it killing a woman and her eight year old daughter who lived close by.

But the destruction of this monument also has to be taken in the context of what was happening in the region at the time. This was just after the short war between Russia and Georgia, in 2008, over the separatist regions of South Ossetia and Abkhazia – one started by Georgia under the encouragement of the US. This was all part of a strategy to surround (with hostile NATO states) and eventually dismember the Russian Federation – which had been the intention of the neo-liberals in the west since the fall of the Soviet Union in 1991.

For that reason the demolition of the memorial was more than an attack on the memory of all those who died fighting fascism it was part of the present war against Russia. This created a sense of urgency, an advert for the commission was circulated and by July 2009 there were already six maquettes of the proposed statue to be erected on a site in Park Pobeda (Victory Park) in Moscow. These designs were on display in the Great Patriotic War Museum, awaiting a popular vote.

At the same time the maquettes were on display in Moscow Hilary Clinton was visiting Tbilisi, adding fuel to the conflict and mouthing her meaningless phrases about the US in support of national liberation of those countries ‘occupied’ and vowing never ending US support for ‘the fight for freedom’. Similar declarations, before and subsequently, ultimately led to the situation we have in the Ukraine at the moment and have led to continued efforts by the US to destabilise other countries in eastern Europe – cut short recently by Trump’s rethink on how to allocate resources to maintain the US’s ‘full spectrum dominance’ in the region.

So a somewhat unique genesis of a World War II monument.

The design of the monument follows many, well established tropes for such statues. In general it depicts the events surrounding the Fall of Berlin, the occupation of the fascist liar by Soviet troops, the raising of the Red Flag over the Reichstag and the first ever Victory Day Parade in Red Square in Moscow.

A common theme of the three, separate components of the statue is the dominance of Soviet over Nazi weaponry, imagery and culture. At the very top two Soviet soldiers are in the process of raising the Red Flag, one of the soldiers pointing his weapon at the pile of German weapons that lay discarded on the ground. Amongst this pile of weapons and debris is a toppled German eagle. We’ve won, you’ve lost!

On the left hand side we have a group of Soviet soldiers who are greeting others, unseen, as they stand beside the burnt out dome of the Reichstag building. Under their feet and before them, discarded on the ground, are Nazi weapons, ruined machinery, barbed wire, destroyed Nazi standards (with the swastika broken) and on top of all this detritus a dove of peace is in the process of alighting.

On the right hand side we have the depiction (the only example I’ve seen in a monumental form) of an episode that took place during the first Victory Parade where Soviet solders entered Red Square with dozens of captured Nazi banners, marched to the Lenin Mausoleum, upon which Comrade Stalin and other members of the Soviet leadership were standing to review the parade, and there the troops threw the Nazi standards down into the mud at the door of Lenin’s resting place. In the background of the monument can be seen the Spasskaya Tower and the building that used to be the Lenin Museum but which is now the Museum of the Patriotic War of 1812.

However, there are two aspects which differentiate this monument from those that would have been created even in the Revisionist period of the Soviet Union. And both these are on the right hand side. Amongst the group of soldiers cheering there is one face that is looking out directly at the viewer whilst all the rest are looking to the front. Also, tucked behind the folds of the flag on that side is an incongruous figure on a horse. This figure is long haired and bearded and is totally out of place. A Christ figure? And I couldn’t work out what he has in his hand.

At the rear of the monument are two plaques. One explaining the reason for its existence and the other with the names of those involved in its creation.

Translation of the plaques on the rear of the monument. (Machine translated so apologies for any eccentricities.)

Monument to the Unity of the Peoples of the Soviet Union who fought and won together in the Great Patriotic War.

Symbolising the inviolability of monuments to victorious soldiers

It was opened in 2010 in memory of the Glory Memorial which was barbarously destroyed in the city of Kutaisi on December 19, 2009

Built with folk remedies

Sculptors/Architects; – the names listed. However, I don’t know the exact level of their involvement but assume that Shcherbakov was the principal sculptor.

S A Shcherbakov

A N Kovalchuk

I N Voskresenskiy

B V Perfiliev

V V Seliverstov

A A Ustenko

E H Zhivotinsky

G J Gattenberger

In the centre of the concave, stone wall set back a few metres from the statue the high structure pays homage to the monument that was blown up in Tbilisi. The large letters (in Russian) declare the name of the ensemble – ‘We are together in the fight against fascism’. Lower down and on either side are smaller images of other memorials from other Soviet Republics. I can identify Mother Armenia in Yerevan, the original monument in Kutaisi and the Motherland Calls! in Stalingrad but have problems with the others.

On either side of the installation stand two pillars upon which is place a horizontal, large, golden star.

Closest public transport;

Park Pobeda Metro station

Location;

In Victory Park (Park Pobeda), Moscow

GPS;

55.72845 N

37.50152 E

How to get there:

From the metro station head towards the obelisk and main museum but take a path off to the left which goes beside the church. Keep on this track as it goes past the entrance to the Military Weapons Museum (on your left) and then rises as it skirts around the left of the principal, circular structure. The monument is on the left hand side of the track.

More on the USSR

Tribute to Enver Hoxha – on the occasion of the 40th anniversary of his death

Posted on 12/04/2025 by Michael

Enver Hoxha

Tribute to Enver Hoxha – on the occasion of the 40th anniversary of his death

by Gjon Bruçi, Gazeta DITA, April 11, 2025

April 11, 1985 – Albania held its breath, lowered its flag and put on mourning clothes. The Leader had died – the National Pride, the Renaissance figure of modern times, the greatest man in the history of the Albanians, Enver Hoxha.

But who was Enver Hoxha? A communist? A partisan? A commander? A commissar? A leader of the people? A strategist and reformer? A legend? Or a truth?

‘History is made by the masses, individuals play a particular role’ – so teaches the history of human society. But Enver Hoxha’s role in the 50-year era of the new and modern Albania was immense. He embodied, in a single person, the highest and most refined virtues of the Albanian, while at the same time being the most brilliant fulfiller of his people’s aspirations.

In two thousand years of the New Era, the Arbër people produced dozens and hundreds of giants of both intellect and the sword. Among them shone the Hero of the Nation Gjergj Kastrioti-Skanderbeg. He was granted many titles by the chanceries of the time, such as: ‘Prince of Arbër,’ ‘Iskander,’ ‘Knight of Christ,’ and others. But his people called him with simple words – ‘The Bravest’ and ‘The Leader.’

Five hundred years later, Arbër – now Albania – would once again have its Heroes of the pen and the rifle, of thought and action, of movement and revolution, who stood up for the homeland in its most critical moments. Among them, like a mountain eagle, rose the Glorious Leader Enver Hoxha. Time gave this National Hero dozens of titles too, but the people who loved him so deeply simply called him ‘The Commander’ and ‘The Man of the Land.’

Writing about Enver Hoxha on a memorial anniversary is as easy as it is difficult. It is easy, because his monumental deeds are still alive – not only in the minds and hearts of us, his contemporaries, but also because, despite the slander of the bourgeoisie and its mercenaries, they rise like mountains and shine like the sun across the Albanian horizons and beyond. At the same time, writing about Enver Hoxha is extremely difficult, because our writings, no matter how beautifully crafted, cannot capture – in either quantity or quality – the work and legacy of this Colossus of Communism, this Great Man of Albanianhood. That is why I will attempt to focus only on two or three of the most significant moments of our unforgettable Commander and Commissar – moments which, when viewed today through the lens of time and the events we are experiencing, take on multiplied value, a value that exceeds the dimensions of an ordinary leader’s life and work.

Enver Hoxha was the most authentic embodiment of the well-known Albanian expression ‘The Man of the Land.’ To earn this title requires many qualities and high virtues that set a person apart from ordinary people. Among other things, to be or become such a man, one must possess wisdom, bravery and the courage of true men. These qualities – along with many others – Enver Hoxha possessed to the highest degree.

It was the harsh winter of 1943. In the mountains of Çermenika, the General Staff of the National Liberation Army was in a critical situation. The routes leading to the free zones were blocked by snow and by German and Ballist forces. British General Davies, who was stationed as an ally near the General Staff, was terrified by the dire conditions. In a debate with Enver Hoxha, he urged him to halt the war and surrender:

‘Mr. Hoxha, you’re mistaken… you’ve lost the war… you’re surrounded… you have only two options: either be killed or surrender…’

Enver Hoxha, who had been trying to calm the British ally, exploded when he heard those defeatist words:

‘Who lost the war? Who should surrender? Never! You, Mr. General, are a defeatist and a capitulator. The Albanian partisans do not know defeat, let alone surrender. They know only resistance and victory!’

And it was Enver Hoxha’s unmatched courage – his absolute conviction in victory – that led the General Staff of the National Liberation Army out of that fierce German-Ballist siege, during that unforgettable cold of late December 1943.

In 1946, at the Paris Peace Conference, the outcomes of the Second World War were being finalized. The great victors – the United States, the Soviet Union, the United Kingdom and France – held the primary positions and were deciding the fate of nations. Little Albania, with fewer than one million inhabitants, arrived at this Conference with its head held high. Its contribution to the Anti-Fascist War, compared to its human and material capacity, was of the highest level. But neighbouring chauvinists refused to acknowledge this fact. The Greek representative at the Conference, Caldarisi, launched a storm of accusations against Albania, labelling it a collaborator of fascism in the attack against Greece. If these accusations were accepted as truth, then the territorial integrity of newly-liberated Albania would be called into question. As always, the great powers of the world had little concern for the fate of small countries and peoples. These could be traded among them, like gifts or relics exchanged at a simple celebration. Facing this potential threat to our country was Enver Hoxha. With unmatched courage, he declared at the Conference:

‘I solemnly declare that: Neither the Paris Conference, nor the Conference of the Four, nor any other Conference whatsoever, can take under consideration the borders of my country, within which there is not a single inch of foreign land… Let the whole world know that the Albanian people do not allow their borders and land to be discussed… The Albanian people have not sent their delegation to Paris to give an account, but to demand accountability from those who harmed them so greatly and whom they fought fiercely until the end!’

And after this historic declaration, Enver Hoxha walked out of the Conference proceedings, returning to the Homeland, to his people – from whom, like Antaeus, he drew endless strength and courage.

In November 1960, Enver Hoxha’s courage rose to legendary proportions. It was a moment of direct confrontation with a threat looming over the international communist movement and, at the same time, over socialist Albania. The clash was face-to-face with the leader of the vast state that made up one-sixth of the globe – the father of kukuruz (maize), Nikita Khrushchev. But this ‘Cyclops’ of the great Eurasian land, when confronted with Enver Hoxha in that bitter winter of the aged Kremlin, resembled the smallest copy of a Russian Matryoshka doll. The opposite was true for Enver Hoxha. His towering and expressive appearance matched perfectly the argument and truth he stood for, all accompanied by rare courage. This was because he came from Albania, where manhood is not measured by weight or position, but by resistance and bravery, by deeds and actions for the benefit of the nation. At the end of that fierce confrontation with Nikita Khrushchev, Enver Hoxha, with a loud and confident voice, would declare: ‘I defend the interests of my country!’

That phrase – delivered with Albanian fire and manliness, in front of Moscow’s treacherous leadership – needs no commentary. As history proved, the entire philosophy of Enver Hoxha’s life and work is encapsulated in that phrase: ‘I defend the interests of my country!’

For half a century, this ‘Man of the Land’ – like no one else in the old or modern history of the Albanians – defended and elevated Albania’s and his nation’s interests to the highest levels.

* * *

It cannot be said with certainty whether an era produces colossi, or whether colossi create an era. But in our case, we can declare without hesitation: Enver Hoxha created an era for Albania and the Albanian nation. An era that placed Albania on the map of the world, raising the Albanians and their country to the highest level of dignity as a nation!

The apologists of the bourgeoisie accuse us, the communists, of the ‘cult of personality’! But who created and continues to fuel the so-called ‘cult of personality’ for the leaders of the proletariat? It was – and still is – the dwarfs of history, starting from the bald Khrushchev to the confused, bearded, scarf-wrapped types of today, who, unable to climb the Great Mountain, spit at it from below – even though their spit only falls back on their own faces!

All the high epithets in the world would not be enough for Enver Hoxha, even if all the dictionaries of the world’s languages were combined. For nature has rarely crafted such a complete person – in stature and presence, in intellect and heart, in courage and bravery, in self-sacrifice and devotion, and above all in a monumental work for the benefit of his nation – as it did in Enver Hoxha.

The ‘cult of personality’? How laughable – and equally deceitful! For a priest said to have cured one or two blind people (surely with remedies unknown in ancient times), the Church and its propaganda perform canonization, and then raise a cult around him where thousands of believers pray. But for Enver Hoxha – who performed real, not imagined, miracles; who shifted history and created an era; who cured not one or two individuals of blindness, but three million Albanians; whose theoretical and practical work lifts not just two or three crippled men, but thousands and millions of proletarians across the world – we supposedly have no right to honour him with a cult?

Yes! Enver Hoxha fully deserves the cult. He is – and will remain – the cult of honourable Albanians. He is – and will remain – the cult of the members of the Communist Party and their supporters, because his majestic figure represents the true national ideals.

Our Albania today, as I wrote at the beginning of this piece, is without a Master of the House. A full 40 years without a master. And how can a house be without ‘its Master’? ‘See and write,’ says the people – and what is to be written is clear for all to see. In the absence of the ‘Master of the Hearth,’ the pack of wolves, along with the great she-wolf of capitalism, has overrun Albania and is tearing it apart without mercy – just as hyenas do in the dark!

On the eve of the March 22, 1992 elections – elections that marked the rise to power of the old bourgeoisie and its new offspring – the chairman of the Communist Party, the revolutionary poet Hysni Milloshi, made a call: ‘Albanian people, do not blindfold yourselves with a black cloth before the ballot box, because afterwards not even the cuckoo will be able to lament your fate!’ But the Albanian people, unfortunately, under the pressure of the horns and drums of ‘bourgeois democracy,’ did not heed the call of the chief communist of the time. With two fingers raised and their minds lowered, they cast their votes into the black bourgeois box – a box that for the past three and a half decades has darkened, and continues to darken, their lives in every aspect.

The Albanians must now remove this black cloth from their eyes. Three and a half decades are enough to understand that bourgeois democracy can bring nothing but the darkness into which the people have completely sunk. Until when will this continue? Has hope been lost for emerging into the light once again?

No! The Albanians will once again find the Master of the House – without whom the country, just like a family, cannot stand firm or move forward. It cannot be otherwise. History repeats itself. And in today’s world, this ‘repetition’ has a much shorter time span than in the past. Albania will soon give birth to the ‘Man’ who will lead it out of the tunnel of darkness – towards the true light!

(Translated by November Eighth Publishing House (Canada) from the Albanian original)

Statue of VI Lenin at the VDNKh – Moscow

Posted on 10/01/2025 by Michael

Pavilion No 1 and Lenin statue

More on the USSR

Statue of VI Lenin at the VDNKh – Moscow

When the VDNKh (the Exhibition of Achievements of National Economy) was first built in its present format, from the late 1940s to the 1950s, once you passed through the arches of the main entrance the statue of Lenin would have been the first real structure you would have come across.

After entering the park there was a long, wide ‘square’ with a grassed area and a series of fountains on either side. This would take you towards Pavilion 1, the pavilion of the Russian Soviet Republic. Placed in front of this building was a statue of VI Lenin.

So, originally its prominence was obvious. It was the first construction in the park that any visitor would come across. And all visitors would pass this statue as the rest of the park used to spread out behind. Present structures and attractions on the left and right of this entrance square are more recent additions as are other, newer entrance points.

VDNKh – 2020

However, relatively recently (within the last four years, as far as I can tell) a new, ugly, blue, tubular glass and steel pavilion has been constructed in this open space, completely changing the atmosphere and the approach to the park. The way it was designed originally the visitor would be initially confronted by the grandeur of Pavilion 1 with its towering spire surmounted by a large golden star. After that first impression visitors would be able to experience the various buildings within the park representing the other Soviet Republics. So, although this modern ‘transformation’ hasn’t physically destroyed the buildings it has completely changed the initial experience for the visitor on entering the park.

The statue of Lenin is placed exactly in the central point of the building behind (symmetry dominates Socialist architecture of the post-Patriotic War period) and is one of the biggest in Moscow. It is also probably the one which is seen by the greatest number of people, the park being busy virtually every day of the week.

When I visited the park in 2024 not only was there this ugly tubular building filling the grand approach to Pavilion 1 itself there was also a temporary structure attached to the front of the building. This, I believe, was part of a temporary exhibition and hopefully has been removed by now. However, all these new and/or temporary structures only seek to diminish both the buildings and the impression that was part of the original design.

VI Lenin at VDNKh

The statue depicts Lenin standing, looking slightly up and towards his left. He’s wearing an overcoat, which is open, and his left hand is clutching the lapel. His right arm just hangs loosely by his side. The statue is placed on a plinth, possibly a couple of metres high, and is probably twice life-size.

On either side of the plinth there are 4 rectangular flower beds with low green shrubs which are surrounded, on three sides, by red poppies (at least in the spring and summer).

Sculptor;

P.P. Yatsyno

Year:

1954

Location;

VDNKh is located in Ostankinsky District of Moscow and is served by VDNKh subway station, north east of the city centre, on Line 6, the brown line. The statue stands in front of the Russian Soviet Republic exhibition hall, about 100m inside the main entrance gate of the Exhibition site.