Druckschrift 
Die Küsten Österreichs : die neue Schausammlung des Volkskundemuseums Wien = <<The>> shores of Austria : the latest display collection of the Austrian Museum of Folk Life and Folk Art
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European ethnology to emerge from the stasis of its history of violenceand its academically organized circle of pity and give testimony of howcultural theories and new epistemologies of hostility give rise to a globalcivil war? Don't we need forensic ethnology to do this, to find evidence?

In 2017, the Museum of Folk Life and Folk Art started to create spacefor these questions. To this end, it has chosen a path, which is risky inevery way imaginable. It is not another" Museum of the World", claimingglobality but fiercely protecting its own collection and narratives, thatserves as the working hypothesis. Rather, it is a" Museum of the World-less", to be understood as a vision for a diverse approach to collecting,preserving and displaying.

According to one definition, the German term" Volk"( meaning" peop-le") is derived from" Folgen"( meaning" following") and stems from theMigration Period. The" worldless" are such a Volk( and rapidly growing),but they possess neither ethnos nor demos. Apart from a sense of be-longing they also lack access to democratic goods like the right to theindividual pursuit of happiness.

But the" worldless", the ostracized in global economics and politics, are,for that matter, an object as well as a subject in the sciences. Ephemeralobjects found along the routes used during the" long summer of migra-tion" in 2015 form the basis of the new collection of the" Museum of theWorldless". During the WIENWOCHE festival 2018, some of them enteredthe collection on display at the Museum of Folk Art and Folk Like for thefirst time. There, they almost stubbornly enter into a dialogue with theother objects on display.

One's own imagination is an apt guide through the new collection.Or, as one of the fellows of the" Museum on the Run"( on display heresince 2017) put it:" It's a bit of a guessing game." In this sense, i in theso- called" parlor" of the permanent exhibition, a ship of the relief agen-cy" SeaWatch" will henceforth be sailing through the windows of theTyrolean farmhouse. It reminds us that identity as a societal possibilityfor self- expression of the individual is based on it being protected byhuman rights. For the human rights of individuals were a political victo-ry against the excesses of the state and its collective identity claims( bethey feudal, bourgeois or fascist). They are thus no" values" which can

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