ABSTRACT

In 2020, the waters of the Ilısu Dam Reservoir reached Hasankeyf, a historic town in the southeast of Turkey. Despite the public outcry, the ‘New Hasankeyf’ had already been constructed across the historic town, including an open-air museum. Comprising of a cultural park, a new museum building and an archaeological park, the open-air museum presents some of the monuments transferred from the historic town together with museum displays exhibiting Hasankeyf’s architecture and everyday life. The main motive of the Turkish authorities was to ‘presence’ the once-living Hasankeyf through the urbanism and architecture, its open-air museum, and the narratives of museum displays. This article discusses how musealisation has been used as a strategy to conciliate the opposition for the loss of a once-living Hasankeyf and how the new open-air museum is in fact an absent presence, a constant reminder of what is being lost. By outlining the approaches and strategies used to transfer and present historic monuments, fragments, and artefacts in the open-air museum, the article argues that the musealisation of Hasankeyf is a clear manifestation of lost heritage, which should be regarded as ‘absent heritage’.

摘要

2020年，伊勒苏大坝水库的水域到达土耳其东南部的历史小镇哈桑凯夫。尽管公众强烈抗议，“新哈桑凯夫”已经在这座历史名镇上建成，其中包括一座露天博物馆。该露天博物馆由文化公园、新博物馆建筑和考古公园组成，展示了从历史名镇转移而来的一些古迹，以及展示哈桑凯夫建筑和日常生活的博物馆展品。土耳其当局的主要动机是通过城市化和建筑、露天博物馆以及博物馆展览的叙述来“呈现”曾经存在的哈桑凯夫。本文讨论了博物馆化如何被用作安抚曾经在世的哈桑凯夫去世的反对派的策略，以及新的露天博物馆实际上如何缺席，不断提醒人们正在失去什么。通过概述在露天博物馆中转移和展示历史古迹、碎片和文物的方法和策略，文章认为哈桑凯夫的博物馆化是失落遗产的明显表现，应被视为“缺席的遗产” 。