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This paper attempts to investigate recent urban space-making practices and imaginaries of two different civic actors: Swakopmund City Tour, operated by Namibian Germans depicting the history of Swakopmund linked to German heritage, and a group of Herero activists around Swakopmund Genocide Museum, challenging the monopoly in framing representations of urban heritage and history, and presenting alternative memory narratives. The aim is to explore how the official memory is dealt with in present day-remembrance policies and practices, and how it is challenged by alternative memory driven by Herero activists. Conceptually, the notion of a mnemoscape (Kössler, 2012) is used, including both intangible and tangible aspects of the remembrance of collective experience. Methodologically, the paper is largely based on the outcomes of a short fieldwork in the urban environment of Swakopmund in 2022.

This article examines the corridor of Antimonumentos (antimonuments) in Mexico City. In a context of more than 110,000 enforced disappearances and hundreds of thousands of deaths since the start of the “war on drug cartels” in 2006, the Antimonumentos are one of the ways in which memory activists seek to mark significant events of violence and state neglect, and expressly confront both the government and society by voicing public demands for justice, accountability, and non-repetition. They occupy public spaces anonymously, without permission, and establish a link between past and present instances of state violence, thereby drawing attention to intersecting forms of violence. We examine how these countermonuments exemplify a protest against a specific regime of temporality, and how they also allow us to reflect on the temporality of protests.

The mythology of the foreign interference into the Russian civil war goes to the heart of the memory politics in Putin’s Russia today, most recently in connection with the invasion in Ukraine. In a bid to unite the country against perceived threats from the NATO alliance, the Russian leadership engages Soviet narratives going back to the Allied intervention into North Russia in 1918–1920, as a deterrent against association with the West. During Soviet times multiple memorials were created in the North to the victims of intervention in support of this narrative. Central to it was the Mudyug ‘concentration camp’ museum, established to demonstrate the atrocities of the intervention forces. Following the collapse of the Soviet Union this museum was branded as propaganda and eventually got decommissioned. Yet after Russia’s annexation of Crimea in 2014 and subsequent war with Ukraine, the old intervention narratives saw a comeback. Backed by the state, the local memory activists in Arkhangelsk in North Russia took to restoring the Mudyug camp museum as a forepost of patriotic tourism in the region.

This article analyses the Lithuanian feature film Izaokas (Isaac, 2018) as an expression of memory activism. The film actualised heated debates on a national level over the role of ordinary Lithuanians in the Holocaust and collaboration with Nazi Germany, in spite of the fact that the filmmakers did not intend to engage in historical debates. Nonetheless, by generating an immersive experience and engaging viewers at the level of affect, the film effectively engages in polemics with public narratives of the Second World War.