The decision to relocate the Monument to Lovers from the wall of the Tomsk Historical Museum drew attention from the local community and visitors. The museum’s administration explained to socialbites.ca that the move was prompted by the challenge of presenting the statue’s meaning to younger guests. With many children among the museum’s audiences, staff found it difficult to convey the sculpture’s symbolism in a way that was appropriate and comprehensible for all ages. As a result, officials, alongside the sculpture’s creator, Oleg Kislitsky, agreed that finding a different place for the artwork would ensure it remains accessible while respecting the audience. The museum emphasized that every effort would be made to ensure The Lover stays visible and meaningful, even when relocated.
According to statements from the museum, The Monument to Lovers has long been a distinctive feature of Tomsk, a piece with two decades of history that brings smiles to both locals and guests. Yet its status as a work intended for adults led to ongoing concerns about how it would be interpreted by younger visitors. With a majority of attendees being families and children, the administration concluded that a more suitable setting could better communicate the statue’s themes, particularly the traditional value of family, which holds significance across the nation. The authors and curators committed to a thoughtful, respectful transition that would preserve the artwork’s impact while ensuring it remains a welcoming part of Tomsk’s cultural landscape.
Local media coverage toward the end of December reflected on the sculpture’s storied presence. Since its creation in the early years of the millennium, the piece by sculptor Oleg Kislitsky has appeared in various locations, including a prominent position in front of the Tomsk Historical Museum and at times near the House of Trade Unions. Over time, this movement of venues has contributed to the monument’s legend within the city, as residents and visitors alike recall the moments when the sculpture stood at different corners of the cultural district and became a familiar point of reference for many conversations about art and memory in Tomsk.
In another note of regional significance, a separate monument in the area of Vasilsursk, near Nizhny Novgorod, drew attention for a textual peculiarity. A statue dedicated to Catherine II bore the inscription with an extra letter in the word “empress.” This detail sparked discussions about inscription accuracy and the care required in commemorating historical figures; it underscored the broader theme of how monuments and their inscriptions are received by communities, language communities, and cultural authorities. The situation served as a reminder that public sculpture and its plaques carry interpretive weight that can influence public memory and dialogue about history.