It is predominantly known that history is written by winners. However, this statement is true when a conflict has a symmetric tendency. In the case of Syria, where the conflict (2011- ) has been widely considered asymmetric, history is being written by a regime/government that won the war by not losing it. This paper investigates cultural heritage practices, uses, and abuses in Syria since the colonial period. First, this paper explores cultural heritage destruction and the toppling of statues representing political figures, e.g., Hafez Al-Assad, located in Syria’s public spaces. The paper analyses the continuous efforts to create the war narratives, production of oral history, and the selective (in)tangible memorialization of Syria’s recent conflict by re-erecting (new) statues of foreign soldiers and glorified figures in Syrian contemporary history. This paper highlights how the decisions to rebuild heritage in urban spaces reflect social understandings of the war experienced, and political visions for the post-conflict future. I argue that heritage practices, uses, presentation, (re-)production, and promotion in Syria since the colonial period have produced a politicized, one-sided (hi)story influenced by political agendas. This history includes highly politicized, ongoing tangible and intangible heritage reconstruction works, freighted with cultural meaning, and primarily intended to bolster the power and authority of the ruling regime.