In a bold, unauthorized act this week, French artist James Colomina installed a provocative statue in New York City aimed at denouncing Vladimir Putin and the absurdity of war. The piece quickly became a focal point of discussion and controversy as authorities moved to remove it, underscoring the tension between artistic expression and public policy in a major metropolis.
The artwork featured a small toy tank perched under a miniature head, placed on a Central Park playground. The reaction from New Yorkers was immediate and visceral, with field reports describing shoves, kicks, and playful punches launched at the figure resembling the Russian president. The scene captured the chaotic energy of a city always ready to engage with art that challenges power, transforming a routine play space into a stage for political commentary.
The creator explained that the statue did not go unnoticed and that lively interaction is precisely what she seeks. The figure of Putin was painted entirely in red, a choice commonly seen in her work to underline critique and to demand public attention through striking visuals. This red representation amplified the sculpture’s message about violence and resistance in the face of global conflict.
The artist described the project as a sculpture designed to critique the absurdity of war and to honor the courage of children confronted with violent and catastrophic situations that they did not unleash.
The installation in Manhattan’s urban landscape lasted only until August 2. It had to be removed because it no longer appeared presentable, with the toy platform supporting the leader looking damaged after the limited display period.
Also in Barcelona
The same sculpture was presented in the Luxembourg Gardens in Paris as it had been in New York, and later in Joan Miró Park in Barcelona, demonstrating a transcontinental thread in the artist’s project. The installations traveled across campuses of public life, turning parks and open spaces into canvases for political discourse and social reflection.
According to the artist, the absence of formal permissions for these open installations created friction with local authorities in several cities. The project thus navigates the delicate balance between artistic freedom and public policy, highlighting how streets and parks can become arenas for dialogue about power, governance, and the human costs of conflict.
The creator described the process as a game of cat and mouse, noting that stealth and discretion are sometimes essential to bring attention to critical themes. The work invites spectators to question authority and consider how war affects everyday life, especially the youngest members of society who bear witness to events they did not choose.