{"title":"“Goodbye Mshatta”: Connections and Disconnections on Berlin's Museum Island","authors":"Katarzyna Puzon","doi":"10.1017/rms.2022.18","DOIUrl":null,"url":null,"abstract":"Abstract This essay is concerned with a contemporary art intervention in Berlin's Museum of Islamic Art, in the context of the Mshatta Façade's move. Sketching out Mshatta's relocation history, the essay highlights how the dynamic of connection and disconnection plays out in a museum setting and is embedded in epistemic concepts mobilized in knowledge-making about objects. Specifically, it focuses on an installation entitled “Goodbye Mschatta. Ich bin ein Fremder. Zweifach Fremder” (“Goodbye Mshatta. I Am a Stranger: Twofold a Stranger”), by a Syrian-born German visual artist who was commissioned to bid farewell to the Façade in its most recent location before it moves to the Pergamon Museum's north wing. Entering into a dialogue with Mshatta, his sculptural intervention pivoted around the themes of incompleteness, mélange, and in-betweenness. It revealed multiple connections and disconnections with regard to the Façade’s biography, while ostensibly disengaging from the debate on historical justice and imperial legacies.","PeriodicalId":21066,"journal":{"name":"Review of Middle East Studies","volume":null,"pages":null},"PeriodicalIF":0.5000,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Review of Middle East Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/rms.2022.18","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"AREA STUDIES","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract This essay is concerned with a contemporary art intervention in Berlin's Museum of Islamic Art, in the context of the Mshatta Façade's move. Sketching out Mshatta's relocation history, the essay highlights how the dynamic of connection and disconnection plays out in a museum setting and is embedded in epistemic concepts mobilized in knowledge-making about objects. Specifically, it focuses on an installation entitled “Goodbye Mschatta. Ich bin ein Fremder. Zweifach Fremder” (“Goodbye Mshatta. I Am a Stranger: Twofold a Stranger”), by a Syrian-born German visual artist who was commissioned to bid farewell to the Façade in its most recent location before it moves to the Pergamon Museum's north wing. Entering into a dialogue with Mshatta, his sculptural intervention pivoted around the themes of incompleteness, mélange, and in-betweenness. It revealed multiple connections and disconnections with regard to the Façade’s biography, while ostensibly disengaging from the debate on historical justice and imperial legacies.
摘要本文关注的是在Mshatta Façade搬迁的背景下,对柏林伊斯兰艺术博物馆的当代艺术干预。这篇文章勾勒出了Mshatta的搬迁历史,强调了连接和断开的动态是如何在博物馆环境中发挥作用的,并嵌入到关于物体的知识制造中动员起来的认识概念中。具体来说,它聚焦于一个名为“再见Mschatta。Ich bin ein Fremder。Zweifach Fremder”(“再见Mshatta。我是一个陌生人:Twofold a Stranger”)的装置,由一位叙利亚出生的德国视觉艺术家创作,他受委托在搬到佩加蒙博物馆北翼之前,在最近的位置告别立面。在与姆沙塔的对话中,他的雕塑干预围绕着不完整、混杂和中间的主题展开。它揭示了与法的传记之间的多重联系和脱节,同时表面上脱离了关于历史正义和帝国遗产的辩论。