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.

本文关注的是在姆沙塔立面搬迁的背景下对柏林伊斯兰艺术博物馆的当代艺术干预。这篇文章概述了姆沙塔的搬迁历史，强调了连接和断开的动态如何在博物馆环境中发挥作用，并嵌入到关于物体的知识创造中所动员的认知概念中。具体来说，它重点关注一个题为“再见Mschatta”的装置。Ich bin ein Fremder。茨韦法赫·弗雷姆德”（“再见姆沙塔。我是陌生人：双重陌生人”），由一位出生于叙利亚的德国视觉艺术家创作，他受委托在立面搬到佩加蒙博物馆北翼之前告别其最近的位置。在与姆沙塔的对话中，他的雕塑干预围绕着不完整、混合和中间性的主题。它揭示了与正面传记有关的多重联系和脱节，同时表面上脱离了关于历史正义和帝国遗产的辩论。