The history of sculpture begins with Paleolithic statues for domestic religious use. A huge monument arises in connection with religious or quasi-religious ideology, when the state seeks to absolutize itself, spreading not only in space, but also in time, that is, into infinity and into the next world. For a long time we were surrounded by titanic figures, busts and canopies of leaders. A little man, in the XIX century, pursued by the Bronze Horseman, in the XX century walked between the statues of Iron-Headed, who sometimes left the pedestals themselves, and looked into the windows.
There was a brief, too short period, from the emergence of Sots-Art to the end of the 90s, when the Monument seemed to be subordinated to the little Man, became ridiculous and unstable. It was possible to saddle him (Osmolovsky’s performance), or even demolish.
But very soon everyone again wanted to have the Leader; the people again wanted a monumental grandeur. Artists are longed for a great style, expert advice, major state orders. The new phenomenon of the monument seems to begin the story anew, but until it looks like a farce; now it's a little grotesque idol who lives in every house where there's a TV.