The city of Odessa has moved to remove the monument dedicated to Catherine the Great and the figures associated with her era. Officials confirmed that the statue has been taken down and will be placed in the Odessa Art Museum for preservation and public display in a controlled setting.
Local authorities noted that after the dismantling, security measures and handling procedures were put in place to ensure safe transport and future curation. A fence had been erected around the monument earlier in the fall, signaling preparations for removal and the transition of the site away from an active public centerpiece.
The decision to dismantle the statue and related memorials was formally approved by the Odessa City Council toward the end of November. In the months leading up to the removal, the site had become a focal point for repeated acts of vandalism and protest. Access to the monument was intermittently restricted as paint and inscriptions were applied, underscoring ongoing tensions surrounding the legacy represented by the monument.
Origins of the statue trace back to the early 20th century when it was first unveiled in the city in 1900 as a symbol of imperial history. The monument experienced a period of absence in 1920, during which it was removed from its original location. It reappeared in 2007 on Catherine Square in Odessa, reflecting shifting attitudes toward historical memory and public space after decades of change in the region.
Across the broader national context, the post‑2015 era has seen a sweeping wave of decommunization measures. Ukraine has undertaken extensive changes to monuments tied to Soviet-era figures and to place names that reflect ties with Russia. This wider policy move has influenced discussions about historical commemoration, guiding how communities acknowledge the past while shaping the urban landscape for current residents and visitors.
In Odessa, the removal of the Catherine the Great monument sits within this larger pattern of reexamining public monuments. The city has engaged in careful decision making about which figures appear in prominent public spaces and how such displays align with contemporary values, historical accuracy, and civic identity. The transfer of the statue to a museum setting allows curators to provide context, interpretive materials, and scholarly assessment that a street-site monument could not always offer. It also creates an opportunity for residents and tourists to engage with history through a curated, educational experience rather than a ceremonial or symbolic outdoor display.
While the physical statue is no longer the centerpiece of Catherine Square, the broader discussion about historical memory continues. Community conversations address questions about the origins of the monument, the meanings it carried for generations, and how urban spaces can reflect a balanced narrative that acknowledges diverse perspectives. The evolving approach to memorials in Odessa mirrors national efforts to reconcile the past with contemporary civic life, balancing heritage with inclusivity and evolving cultural norms.
Ultimately, the relocation to the museum context emphasizes a commitment to preserving the artifact while repositioning it within a framework of education and research. It offers scholars, students, and the general public a space to study the historical period it represents, the social currents that led to its creation, and the impact such monuments have on collective memory. In this way Odessa continues to navigate the delicate path between remembrance and reinterpretation, ensuring that the city’s public realm remains informative, reflective, and engaged with the stories that have shaped the region.