caust Memorial Museum inWashington, explicitlyboth reference USHolo the - two the institutions between direct links a black background. While there are no names of are victims the presented on nate permanent the exhibitions and the tims' belongings indisplay domi cases - survivors' testimonies,victims, and- vic stories the individuality: of individual spaces and astrong on focus victims' the featuresimilarities. Both dark exhibition bitions opened in2006 – show striking in Croatiaseum permanent –both exhi- dapest and Jasenovac the Memorial Mu- BOSNIA-HERZEGOVINA , CROATIA AND – MEMORIAL MUSEUMS IN TEMPLATE 1 1 [email protected] E-mail: Vienna Sciences of Academy Austrian History, of CultureInstitute Studies Theatre and Ljiljana Radonić The Holocaust CenterMemorial in Bu- is work was supported by the Austrian Austrian by the supported was work is Science Fund (FWF): V663-G28. (FWF): Fund Science Th Srebrenica Keywords museums, Memorial Hungary, Croatia, Bosnia-Herzegovina, Jasenovac, museums.memorial brenica-Potočari Center Memorial reference trends stemming from Holocaust inSarajevo Against ofCrimes andGenocide the Museum andtheSre Humanity to museums dedicated to thepost-Yugoslav I analyze how wars. the last part In brance hasbecome. Iargue that thesemuseological trends have also"travelled" museums,Holocaust memorial indicating how universalized Holocaustremem - ing withthat ofcommunist crimes, bothincorporate elements from "western" which have sidelinedtheHolocaust to prevent itsmemorializationfrom compet in thecourse ofEUaccession talksby highlighting theHolocaust, andthose, seum and . Museums, whichhave to tried prove theirEurope-fitness and Bosnia-Herzegovina reference trends- Mu setby theUSHolocaustMemorial Idiscusshow museumsinHungary, memorial thisarticle, CroatiaAbstract In 2 D.C. (USHMM) as role their model. of Holocaust" the (Eckel and Moisel or cooperate with directly. them Vashem inJerusalem as role their models of refer them to USHMM the and Yad goslavia article. inthis All discuss Iwill seums in Hungary and former the Yu- These aretwo the of five memorial mu- Accepted: December 2018 December Accepted: article scientific Original 10.20901/an.15.06DOI: e Croatian daily Vjesnik daily e Croatian As show, Iwill "universalization the Th ington or the Anne Frank House" ( House" Frank Anne or the ington Wash in Museum Memorial Holocaust the –"even more than victims the to exhibition whole the devote to planned Museum rial Memo Jasenovac the that 2004 in already Seewann and Kovács 2006a: 198. 2006a: Kovács and Seewann see case 7, Hungarian March For the 2004). 1 reported Vjesnik - - 2 - - ,

1 13 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 2 13 Anali Hrvatskog politološkog društva 2018. imperative (Alexander first, a universal moral orientation and and elements. aesthetic include, They models.trend This combines textual have emerged as two the principal role where were crimes the committed. They situ from in their museums" inorder to distinguish them institutions designated to be "memorial USHMM inWashington were first the Yadrial Vashem inJerusalem and the states.ber The Israeli Holocaust Memo- countries striving to become EU mem- atrocities, inpost-communist especially tutions with dealing twentieth-century dominant the seum" forparadigm insti- 2008) has rendered "memorial the mu- er working stations and museum's the camp commanders only on comput the - routine camp, inthe and identifiesthe material of site the aspects or daily the exhibit.the Since it hardly references the around it have not integrated been into concentration camp and mass the graves fortia, example, site the of former the Jasenovac Memorial Museum inCroa- attraces respective the location. At the ence or suitability of relevant material without much regard pres to actual the - tap into language "global" the of forms Hungary. situ in These World War IIatrocities inCroatia and museumsthose located at sites the of ground. inwhite lettersscribed on adark back- namesthe of generally victims, the in- ratic and objects, presentation the of include darkened rooms, au victims' - pioneered USand inthe Israel. These third, musealization aesthetic standards atrocity, as well as auratic and, objects; tographs from "lives their before" the stories,personal testimonies, and pho- strong on focus individual their victims, ities and "human suffering";second, a human rights and prevent atroc new - "lessons"the of Holocaust, the to respect This trendThis come also has to influence counterparts located museums tend to

2002), based on 2002), based the Ustašathe up to 100.000 people. killed 100 kilometers from capital the Zagreb, Croatianthe death camp where, only hardly comparable seems to site the of (HDKE 2018). At firstglance thereforeit a minor "internment camp" in1944/45 dapest is located at site the of what was Holocaustthe Memorial Center inBu- were to deported Auschwitz and and The majority killed. of Hungarian prisonerspolitical were imprisoned Croatia Roma, where Jews Serbs, and former Ustaša concentration camp in Memorial Museum at site the of the Memorial Center, and Jasenovac the Housethe of Terror and Holocaust the era: two antithetical museums, committedcrimes World in the War II situ in um" was imported atdifferent three very how concept the of "memorial the muse- and by Croatia, begin showingry I will country. have anywhere installed been inthe else website, exhibit the could just as well 3 cuses primarilycuses on Hungarian suffering rooms to Nazi the occupation and fo- two and out ahalf of more than twenty communistthe regime, it devotes only Party (1944/45)and subsequently under under regime the of Arrow the Cross interrogated, tortured and first killed, torical site where people were detained, ferent altogether. case at Located ahis - hand, at seems, firstglance, be adif- to story. The House of Terror, the on other differentvery locationsthat thetells of two museums these in spite of their Yet it is precisely similar appearance the e number of victims killed at Jasenovac at Jasenovac killed of victims e number Focusing on examples from Hunga- Th rial Site 2018a). Site rial Memo (Jasenovac by name 83.145 victims identified far so has Museum Memorial 2010). Jasenovac (Radonić The thousands afew only upwith come today until ists revision historical Croatian victims, lion one mil claimed nationalists Serb 700.000, was number official Tito's the In decades. for battlefield a constant been has sites dedicated of to memory the - - - 3

bition (Brandstetter hibitions to curate its permanent exhi- NGO on that Holocaust specializes ex- in Rwanda invited which aUK-based rable to Kigali the Memorial Museum Srebrenica-Potočari 2018)–compa- camp memorial (Memorijalni Centar from Westerbork the concentration from 2017incooperation with experts veloped its permanent new exhibition Srebrenica-Potočarithe memorial de- notdoes belong to comparison. the Yet, firstglancethat thecase of Srebrenica of It 1995 Genocide. the mightat seem Memorial for Victims and the Cemetery andjevo public the Srebrenica-Potočari against Humanity and in Sara- Genocide to privateelled the Museum of Crimes "memorial museum" concept has trav- analyze article Iwill ifandthis how the In last the and most innovative of part ities of 1990sinformer the Yugoslavia. musealization of recent the mass atroc- like Jews" the is memorialization the and claim that have too they suffered "just ofmodes Holocaust memorialization to to various groups victim enlisting communism. (Hungarian) suffering, primarily under tolized create a narrative of collective Holocaust memorial museums are uti- wards in western individual the victim born aesthetics the of specific turn to- Importantly, however, the case inthis Children'sthe Memorial at Yad Vashem. basement strongly is also reminiscent of up to roof. the The "Hall of Tears"the in thatwall ranges from ground the floor exhibiting portraits of on victims the a of "Tower the of faces"inWashington by It has, for example, adopted model the identifiedthe USHMM as its role model. under communist Yet, rule. it has too victims. Iarguevictims. that it museums is these andtion Jewish of Bosniaks Holocaust itsbegins exhibition with an- equaliza museumAnd Genocide inSarajevo the Another inpoint case it when comes

2010; Ibreck

2013). course analysis the allow to decode will andreal size?(Brink Wegerer 2012)Dis- torical documents that are displayed in a 'typical image' of one group or as his- trayals of famous depictions victims, of ing emotions, as room dividers, por graphs as huge used installations evok- discernible)?Arebe historical photo- are excluded (but may nevertheless still and sub- which and counter-narratives exhibit the collective does which speak self-contained or open. In name the of hibition is determines storyline if the introductory texts. The end the ex- of buildwhich up with the storyline the tered oftenfunction as routingpoints, The entrance and first encoun - objects fortail subsequent in-depth analysis). were(which photographed ingreat de- arestoryline exhibits the themselves for analyzing core the narrative and the erage of museums. the The mainsource staff, museum websites and cov news - catalogues, publications by museum on materiality the of site, the exhibition literature apart, site the analysis focuses to prioritize.choose Relevant secondary of museum the and content the they is obviously shaped by in charge those ic is to society. meaning The inscribed indicatesseum how important top the - The storyline. the sitespecific of a mu- ofstruction leading the narrative and exhibition is influences realized the con - andtory site analysis. The sitewhere an I combine discourse analysis, his visual - memorial museums. Methodologically Worldthe War IIinpost-communist research for my thesispostdoctoral on recent mass atrocities. of case in the museums with dealing the "Holocaustthis template" is applied also Thiscalls for acritical analysis of how differentit invery ways show. will as I of template for exhibitions their - –albe rialization and musealization as a kind themselves that apply Holocaust memo- The drawsfromarticle fiveyears of -

3 13 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 4 13 Anali Hrvatskog politološkog društva 2018. the Hungarianthe and Croatian situ in cussing first the pitfall and arguethat three principal by pitfalls. Ibegin dis- done (Keller 2011:59). addressed texts inthe and how is this well asand self- other-positioning, are bilities, for needs action, and values, as by examining causes, which responsi- exhibitions' texts as well as catalogues crucial ifone wantscrucial to understand the Three international developments are Approach Theoretical pitfallthis avoided. can be caust musealization –demonstrates how and relies on practice of best the Holo - avoids of sort this simplistic equation other Jews" the as "new the niaks) while presentswhich Muslims Bosnian - (Bos differentBosnian museums – one of point. Finally, a comparison of two very Terror in Budapest is an obvious in case people". or Thetim "victim House of tray one's own group as- acollectivevic museums are elsewhere to utilized por and techniques pioneered by Holocaust cuss is way the aesthetics the inwhich are considerable.third The Idispitfall - Hungarianthe and Croatian museums In regard, this differences the between risk of losing sight of perpetrators. the tration on brings victims the with it the miliating way. In addition, concen the - otypical, anonymizing and, hu inpart, - Roma represent whom they inastere- ple, yet donot apply it of to case the the Museum share both in princi focus this - Budapest and Jasenovac the Memorial that Holocaust the Memorial Center in "individualization I show of victim". the camp. limits the Second, Idiscuss of the located of middle inthe aformer death ofcase Jasenovac where museum the is tory.the in This particularly striking is of respective their location and its his - museum", have sidelined specificity the by importing concept the of a"memorial My discussion is organized around sites, - lective thatlective developed shared structures understands post-war Europe as acol- crematoria of Auschwitz" (831f.). Judt of sort build Europe acertain out of the important804) since so it "seemed to continent's restored humanity" (2005: definition very and guarantee the of of Europe's Jews dead has become the has argued that recovered "the memory and Lang 2011:15).Tony(Leggewie Judt a "negative European founding myth" dimension: Holocaust the has become salization incorporates an additional 203). ating a"Europe of (Jureit victims" 2009: externalizationthe of responsibility, cre- Thelatter tends to go hand in handwith of national suffering (Rousso 2004:374). collective, as an emotionalizing symbol represented can be victim of as part a (Köhrperience 2007).Alternatively, the "ordinary life before" traumatic the ex- can refer to individual the and his/her can have"victim" different meanings. It (Rousso 2011: 32). Yet concept the of the replacedhas by been that of victim the ciated resisted who with those Nazis the of hero the and/or formerly martyr asso- of focus the memorialization: figure the opment has brought about achange in groups. andvictims victim This devel- 195) for memorialization the of various a "container" and Sznaider 2005: (Levy becoming exander also etal. 2009)while imperative to human respect rights- (Al Holocaustthe has created auniversal smann and 2010)implies Conrad that Holocaust" (Eckel and Moisel 2008;As- century. This "universalization the of icon" (Diner 2007:7)of twentieth the established Holocaust the as a"negative War post-Cold in the ry-boom West has Nazism and communism. The memo- competing narratives of suffering under peanization of Holocaust, the and the salization of Holocaust, the Euro the - aforementioned trends: univer the In European the Union, univer this - - demned todemned same the extent as Hol the - demand that communist con be crimes - post-communist EUmember states to conflicts prompted representatives of zation strategies. The resulting memory atcrimes of heart the memoriali their - traumaticthe of experience communist heroic anti-fascist and placed struggle narrative delegitimized the also of the with communist the regimes have they ing apre-communist golden age. Along national history, by invent- inparticular countries have tended to re-narrate their of Holocaust, the post-communist the (Molnár 2012). director, Szabolcs Szita, explicitly stated niques from Western Europe", as the concept on wasmuseum "based tech- permanenttheto finalize exhibition), its EU (though two it years took afurther a few weeks before Hungary joined the in Budapest inpoint: is acase opened seums. The Holocaust Memorial Center westernand case mu inour particular - past in asimilar vein to western policies ofset conventions about depicting the countries to have seem internalized a of EU futurein 2004, the the member applied during eastern the enlargement While no official political pressure was tion of some kindof European standard. Day was first the step towardsthe crea - and implement Holocaust Memorial munist – countries join Task the Force suggestion that post-com- –especially countries, most of European. them The (renamed into encompasses IHRA) 31 attracted much so interest and today Education, Remembrance, and Research ternational Cooperation on Holocaust of reasons the why Task the Force for In- tive lacking. This thatis one is otherwise provides a compelling common narra- union,monetary founding this myth identity that beyond goes economic and of Holocaust. the In its search for an to avoid arecurrence of catastrophe the Finally, alongside Europeanization the hegemonic national narrative. again, museums challenge can also the as foundation the of present. the Then historical narrative to designed serve and presentation the of dominant the tity, canonization the of official memory, sites for used representation the of iden- 2010). Memorial museums tend to be spaces (Sommer-Sieghart 2010; Simon and outgroups –and therefore contested and ethnic, religious social, between in- and exclusion that govern relations the patterns and mechanisms of inclusion are, rather, manifestations of cultural picting "what happened". actually They spaces of knowledge transfer simply de- its past and are definitely not neutral showcasethey howinterprets asociety ducers of knowledge about history; terpretation. Museums are key pro- reverent remembrance and in- critical uneasy conceptualthe coexistence of themselves instantly politicized reflects many recent memorial museums find rative (Williams acts" 2007:8).Thatso contextual explanations to commemo- historical events and more in-depth framework to narration the of terrible increasing desire to amoral addboth ing of two the suggests that there is an tualization, and critique.- "The coalesc concerned with interpretation, contex- is assumed that historical museums are safe to be refuge inthe seen of history, it ent contradiction. While memorials are Budapest 2008). (Rév for example, House inthe of Terror in greaterthe This is evil. clearlythecase, that ultimately depicts communism as ti-communist interpretation of history (and are) oftenframe to used an an- text, narratives of Nazi occupation were and Stalinism 2017).In (Sierp con this - memorial day for of victims the Nazism ing of Hitler-Stalin-pact the in1939,a declared 23August, day the of- sign the ocaust. Thusthe Europeanparliament Memorial museums an spell inher -

5 13 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 6 13 Anali Hrvatskog politološkog društva 2018. 4 unit "Wolves of Vučjak". Army (JNA) paramilitary and Serb the was occupied by Yugoslav the People's armed forces site the used and it then September first 1991,when Croatian 1990. The institution was untilopen inother of parts barricades Croatia in once Croatian building started Serbs were no more visitors to memorial the of "Homeland the war" 1991-1995there ated 1941 and between 1945.In wake the Ustaša concentration camp, oper which lished 1960s atin the site the of a former historical happened. crimes tion located at situ an in danger of de-contextualizing exhibi the - US and inIsrael, brings this about the museumrial concept developed inthe to leads import the oftalks memo the - models course inthe of EUaccession If orientation the towards "western" role situ Museum in Memorial the Importing 1:Pitfall (Apor and Sarkisova of politics the of and history memory" hibitions attractive so for many variants "'touch of real' the makes historical ex- ent to recent the past, is which why the cant role relationship in the of pres the - argue that physical playobjects - asignifi ly straightforward. Apor and Sarkisova visitor on experience, other, the is rare- desire to create an emotive and gripping on evidence, the one the hand, and the provenancetween the and materiality of issues.political The relationshipbe- of charged highly and ethical, aesthetic, are they which displayed involve arange ized, and character the of spacein the way the used, are they inwhich organ- and objects the images that should be e question who devastated the site is is site the devastated who e question The Jasenovac Memorial was estab - In decisions cases, both concerning for example claims that only the Croatian Croatian the only that claims for example Walasek Helen one. politicized a highly Th

2008: 5). site where the 4 The museum - war veteran voters, on other. the and expectations the of his nationalist course,an EU-friendly on one the hand, to abalancebetween strike was trying Franjo Tuđman back to power in2003, of party "founderthe the of nation" the government of Ivo Sanader, had who led were stagnating and conservative the time,the Croatia's EUaccession talks afterthe war there opened in2006. At Culture. The first permanent exhibition director is appointed of by Ministry the is astate-financedrial institution whose Croatia in 2001.The Jasenovac Memo- for digitalization and returned then to from Banja Luka to Washington D.C. 84), that items the would brought be of Republika the Srpska (Walasek 2016: prime minister Serb Bosnian the Dodik, to reach an agreement with Milorad of The Balkans". the USHMM was able referred to camp the as "Auschwitz the number the ed there and of killed victims narrative of Jasenovac exaggerat which - ovsky 2007: 53) in an attempt to create a tions inBanja Luka (Beny- and Belgrade thorities subsequently it used for exhibi- andbut Serbian Serb au Bosnian the - Thus,the was collection not destroyed, vina 17kilometers from memorial. the of part Bosnia-Herzego Serb inthe - ca exhibitsthe toBosanska his flatDubi in - curators, Sime Brdar, evacuated most of evacuation, ficial but finally one the of wascollection already packed for of the - 5 t the time, the EU suspected Croatia of Croatia suspected EU the time, t the A not cooperating fully with the Tribunal in in Tribunal the with fully not cooperating for information on this topic. on this for information Memorial Jasenovac of the director Pejaković, Ivo 156) Ithank 2003: (Mataušić needs. war and for accommodation facilities the using by devastation the to 1995 contributed until of apart was Jasenovac which of Krajina lic Repub Serb or the JNA the (HV), army tian Croa of the units degree what to established not be it could that conclusion the to comes Mataušić Nataša memorial of the head former 2017) The (Matković occupiers" "Četnik Serb the exclusively blames and a"lie" this calls Matković Blanka 2016: 84) while (Walasek site the vandalized and "occupied" authorities 5 - - I–IV) andI–IV) alocation inStara Gradiš - ofvillage Jasenovac itself (Jasenovac It comprised four campsites around the "Jasenovac" is acamp actually complex. tion tells its story. way shapes way the exhibi the in which - quently, at Jasenovac site the itself inno routine of aconcentration camp.- Conse to show complex the character and daily Germany or occupied Poland, try which concentration and death camps in Nazi morial museums at sites the of former curators didnot to from learn seek me- It remarkable seems that Croatian the Annethe Frank House in Amsterdam. USHMM,the but Yad also Vashem and mer concentration camps, especially stitutions not located at sites the of for international came all from in- experts Jewish were –and victims these killed ovac is by no means asite where only (Vjesnik standards," as former the director put it internationally and follow international from abroad inorder "recognized to be conceptualized with help the of experts July 24,2004). The exhibition been had tions topics" with dealing these (Vjesnik with framework the given by institu- cation and museum system and comply European of part to modern the be edu - director,time has emphasized: "we want may 2006:5).As Nataša Jovičić, long- the with world the and Europe"- (Benčić-Ri – had always "actually communicated its English translation on goes to explain –aswhich Croatian the version but not learning about of history the anation", requires remembering and encourages heritage and symbolizes aplace which ofmorial is "part European the cultural Culture stresses that Jasenovac the Me- publication,cial Croatian the Minster of What is usually referred to simply as In preface the to museum's the offi- General Ante Gotovina. Ante General of especially and criminals war of alleged extradition the with connection in Hague , February 14, 2004). Yet Jasen- - , list as a"dray-horse towards Europe" (Novi atsion talks oftime the its conception, drop of Croatia's stagnating EUacces - bled exhibition, the against back- the bish", aCroatian while - journalist rum museum concept- rub "post-modern limited importvery of memorial the that one foreign this critic has called has It not heeded. been is little wonder cember, 2006).To day, this advice this buildingsthe and sites (Vjesnik ten descriptions but photographs also of formerthe camp include not only writ- plannedthe "memorial path" through site in1945,it would important be that that, of given destruction camp the the in Washington, Diane Saltzman, stated of USHolocaust the Memorial Museum "internationaled The director experts". criticism from one of frequently the cit- point is only the one to draw implicit bysigned Bogdanović. Bogdan Thislast way to famous the flower monument de- plaque from 1960ssituated the on the museumside the building on ametal and mass graves are explained only out- each of camp the sites. and basic limitedvery information on terminals providedsome find they will additional information at computer the ly referenced. Only ifvisitors out seek concentration camp around it is active- not historical eventhe site of main the novac execution sites larger in the area, exhibition displays a map of nine Jase- a brick to be used factory. Although the main camp site –Jasenovac III–which museum itself is located at former the since war the ruin of 1990s. The the Kula The uated. primarily for prisoners political were sit- for women and children –and aprison where "Kula" the (Tower) camp – the ka (Jasenovac 30kilometers V), away, The locations barracks,the of offices , May 15, 2005). has been an has unmarked been - , 2De

7 13 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 8 13 Anali Hrvatskog politološkog društva 2018. 15, 2018). fourth in time a row (Jutarnji list memoration at memorial the site for the fore boycotted official the annual com- atives groups of victim the have there- symbols and ingeneral. idea Represent- 1990swarthe to rehabilitate Ustaša the have soldiers using from fallen the been slogan in1991,but right wing groups unofficial unit who been using have that to commemorate Croatian soldiers of an point. The plaque was formally placed list ji relocated afew months later (Večern of Jasenovac inNovember 2016and lished by Ustaša the put up town inthe (ready for home/land) the slogan estab- dom plaque spremni"rial with "Za the tian historical revisionists. The memo- remained athorn sideof inthe Croa - ofties its location, Jasenovac the site has including materialities the and spatiali - permanent exhibition it when comes to Despite shortcomings these of the , September 2, 2017) is a case in , September 2,2017)is acase Figure 1. Figure at the former Jasenovac concentration camp concentration Jasenovac former the at Metal plaque locating barracks and execution sites sites execution and barracks locating plaque Metal , April - foundation for creation the of Holo the in Auschwitz-Birkenau, and up set a oldcountry's communist-era exhibition morial the Day in 2000, modernized government introduced Holocaust Me- its approach to issue. this The Orbán 2002 and again since 2010–changed from party 1998to ruling Fidesz –the Yet, during EUintegration the process ent powers' war aims." (Schmidt 1999). was not of object the any of belliger the show, as it were, amarginal it aspect, nation or of rescue Jews, the was aside sorry, but Holocaust, the extermi- the was not about Jews or genocide. "We are position on Holocaust: the World War II Mária Schmidt, formulated her clear House of Terror opened, its director, initiated of both Years them. before the II, even though Orbán the government more approach intheir to World War museums in Budapest could not differ c aust Memorial Center. In 2002,Hun- Thetwo substantial state memorial ­ - symbolic steps were primar designed Remembrance highly Alliance. these All joined International the gary Holocaust highly contested.highly The initial plansfrom –Holocausted Memorial Center was ror, location the of state-fund – also the - narrative later. institution this in which constructs its ple opportunity to return to manner the its own location apart, have we will am- ways. The mannerwhich in it relates to museumal most inthe idiosyncratic of "imported" concept the of memori the - USHMMes the inits it aesthetics, has In for sense, this that all it referenc- reconstructionthe of its history. actual tention to materiality the of site the or location.curators The littlepay very at- prisoners were not hanged infact inthis includes, features also gallows although displays various kinds of torture cells theater of horrors.basement, The which into acolorful, loud, and overwhelming has transformed its traumatic location ent to some extent, situ in this invariably pres stage they history the - (Ungváry exhibitions 2010).While all post-World War IIcommunist regime Party (1944/45) and under then the short-lived regime of Arrow the Cross gated, tortured first or killed, theduring where people were detained, interro- in 2002.It is located at ahistoric site museum during campaign election the politics of past, the as a state-funded ror, represents which core the of Orbán's 25 February (Ungváry 2011:300). of victims the communist the regime on tion of an "equivalent" memorial day for Day inHungary, but inaugura the also - introductionthe of Holocaust Memorial Holocaust.the Hence, 2000saw not only era continued to compete of with those stage,ical of victims the communist the world, however. domestic On the polit- ily for gratification the the of outside As opposed to that of House the of Ter Fidesz inaugurated House the of Ter museum - - - Jewish religion, as Imre Kertész put it. a Jewish problem –or amatter indeed of that Shoah inHungary the was above all a synagogue, gave which impression the for situated being next to, under and in as aformwas seen of ghettoization, and surroundedbeing by which walls, high fartoo from center the of Budapest, for was severelyseum for criticized being instead and renovated. Initially, mu the - synagogue at Páva Street was chosen chase fell Ferencváros the through. So former ghetto of Budapest, but its pur inently located synagogue within the on earlythe amore 2000sfocused prom- 6 orders of Hungarian the minister of the andkia, elsewhere interned there on the refugees from Poland, Germany, Slova- Jews of "unclear citizenship", i.e., Jewish ready in1941as adetention center for do not here learn is that it- al was used ceremonies." (HDKE 2018). What we ing 1945it hosted occasionally religious as anused internment camp and follow- worship until 1944.In 1944–45it was "Itfact: was functioning as afacility for Center'sThe website mentionsalso this and Kovács2006: 35;Seewann 2006b). tion of Jews the of Budapest (Mányi was located there- during persecu the an "authentic site". An internment camp developed) has pointed out that is this before plans the for exhibition the were undergroundthe exhibition room (built architecturalthe of design yard the and ble for renovation the of synagogue, the ity for deportations the 2014). (Radonić and domestic responsibil- for its extensive coverage of Hungarian of Holocaust the generally appreciated it interestedthose memorialization inthe criticismsthese largely and receded Yet once exhibition the opened in 2006, ee the debates in the Hungarian journals journals Hungarian the in debates the ee István Mányi, architect the responsi- S and and irdalom es Elet February 19, 2004). February ( "Emlékeztetö" Központ: Dokumentációs Holocaust overview: an Múlt és Jövő és Múlt Magyar Narancs , and, for and, - 6

9 13 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 0 14 Anali Hrvatskog politološkog društva 2018. guidebook provideguidebook any infor specific and neither exhibition the texts nor the Holocaustthe inHungary ingeneral darkthe exhibition spaceis devoted to during deportations the of 1944/45, that Yet despite references these to fact the interior (Frojimovics etal. 1999:138). narrative from- survivors' the perspec more towards construction the of the quently, emphasis the shifted more and ofperspective perpetrators. the Subse- research strongly initially focused on the Hilberg's pioneering work, Holocaust Following by set paradigm the Raul Roma Victims –ButIndividualization not for perpetratorship. ing difficult the issues of complicity and and perspective thus victim's the avoid- 2015); and by focusing exclusively on and/or as an anonymous mass (Radonić in a stereotypicaling victims "their" way vidualizing depict- "our" while victims applied inproblematic ways –by indi- Yetvictims. technique this be can also of evoking empathy with individual the by perpetrators is strongest the means addition to humiliating the shots taken before instead persecution the of or in private photographs of lives victims' the writtenof victim or oral testimonies, Exhibiting traumatic pasts with help the Victims of the Individualization 2: Pitfall situ memorialthe museum is imported to in pitfall that concept the when arises of spatialities of that site, is then, first the engagementful of materialities the and historical significance into a meaning- mere statement site's of a particular sitethis during World War II. mation as to This sort This of failure translateto the locations. the location the was significant, at least what exactly transpired exactly on - import of moral universals to had led (Lukić Jasenovac and Stara Gradiška camps" showed "national inthe heroes killed peared in1986,but principally they and portraits of individual ap victims - The firstvictims. private photographs 1966 and 1985,donot feature individual novac, for instance, published between suit. The first five guidebooks fromJase- dedicated to atrocities the have followed tive and agency. victims' the Exhibitions (Jovičić 2006: 10) presents "topics such as Holocaust" the educational 27,2004),the centerruary ic human rights center" (Vjesnik primarily andrial as a"modern dynam - future. Since she understood memo the - value of life and providing hope for the a means of teaching young people the anderal Holocaust the as inparticular extreme of portraying genocide ingen- education at memorial the sites to the ofthus idea the human carried rights (Vjesnik crime" "sending amessage of light to site the of to of make sense mass murdertrying by veering into redemptive by territory but valid certainly Jovičić was clearly World War II in previous was decades in numerous used thetics exhibitions on of life". The criticism the of shock aes- hope" by turning Jasenovac into a"site keen to create a"positive message of in Yugoslavia had done. Instead, she was as communist-erathem, the exhibitions andcorpses weapons the that killed she didnot want to show anonymous "world and museology" explained that opened in 2006, referred directly to the ble for permanent the exhibition that Nataša Jovičić, director the responsi- instead.vidual victims overridingin the trend to on focus indi- followed corpses victims' and resulted merits of showing piles of anonymous At Jasenovac the Memorial Museum,

1986: 46).Discussions about the , March 7, 2004). Jovičić

as moral lessons. The , Feb , - endure than other the prisoners (158). imprisonmenttheir more difficult to ited travel" must (170), they have found that, as a"people of freedom and- unlim ing" (Lengel-Krizman 2006: 158), and known for of colorful their style dress- authorthe that women "their are still background information. We from learn groupstim provide no such exoticizing Roma. The chapters the on vic- other ny grammar or origin of the name the in that it addresses topics like Roma- differsalso significantly from theothers are known. of Roma names those survivors whose possible to obtainbeen post-war images may hard be to find, it would surely have Roma from before imprisonment their Even ifone assumes that pictures of the bytaken perpetrators inside camp. the only four pictures of Roma, of all them pre-warboth and post-war, it presents and non-Jewish and Serb Croat victims, and other private photographs of Jewish containsguidebook numerous portraits overall Europe. However, the while was marginalizedmemory for decades group –avictim guidebook the whose Roma exhibition inthe victims and Holocaust"the Jasenovac includes also war. In step with "universalization the of vate pictures showing before them the portraits of many victims, of pri them - ductions of photographs, most of them tors. Its contains guidebook 221repro- hovering above heads the of visi- the on platesof glass inscribed victims the produced by inmates, the and names the testimoniesvideo of survivors, objects able degree on stories, individual victim learning of lessons from past. the a dehistoricized understanding of the 7 ndeed, the exhibition on the "Roma geno "Roma on the exhibition the ndeed, The exhibition to aconsider focuses Yugoslavia. former the including countries, relevant the of for most exist do photographs dualizing indivi such that demonstrates Museum State Auschwitz-Birkenau atthe cide" I 7 The chapter theRoma on - - - ian Jews and Roma and shows Roma old sister Ilona, didnot. others, including her eighteen-month- daughter many while Aranka survived tures exhibition. inthe We that learn his one individualizing Roma that story fea- visitors from room to room. Thisthe is Kolompár's family accompanies the Jewishthe of families, story the István in Baranya county. Alongside of those ish and one Roma, from Nagybicsérd are stories the of five families, four - Jew for individualization the of victims the Holocaust.the Another inpoint case wrote during also who Ecséri, adiary to Anne Frank, aHungarian girl, Lilla Center.rial It shows, for example, next pronounced at Holocaust the 2014). The individualizing element is vention of Roma activists(Kovács etal. sequently included following inter the was not initially envisaged and only sub- Budapest. Coverage of Roma the victims hay from Museum the of Ethnography in but by another group by led Péter Szu- notoped by main the curatorial team focusing onsections Roma were devel- to Jewish the and Roma Yet victims. the morial Center inBudapest is dedicated complex is not evenmentioned. a "Gypsy camp" within Jasenovac the nificance is not explainedthat – it was includes a site "Uštica", called but its sig- aforementioned map exhibition inthe allowed for to speak themselves. The Romathe are group only the victim not er. Hence, Jasenovac in the guidebook, simply refuses to include altogeth them - cides to on err sideof the caution and and authentic" author the (170)–so de- or might not accept as them truthful survivors are drastic that so we might here, since testimonies "the of few the testimonies, there are none from Roma and Jewish include victims plenty of Furthermore, texts the on while Serb The firstroom introduces Hungar The exhibition the at Holocaust Me- Memo - - -

141 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 2 14 Anali Hrvatskog politološkog društva 2018. prominently first, in the introducto- resentation of Jewish victims. presumably inconceivable be rep inthe - was regarded to be as aGypsy", would that fact the law the who never defined authoritiesthe was not madeby easier people", or statement the that jobof "the and evenderogatory phrase like "these of neighboring countries." Adistanced to or settle drive to territory trying the people thatthese authorities the kept clannishtribal, circumstances". "It was ic way of life and permanently lived in of Roma "clung who to nomad their - fronted with astereotypical description (Holzer 2008:48).Here we too are con- and as awhole thus society civil the outside of market villages, town, cities ing depiction the of Roma as standing somewhere inHungary", thus reproduc- "Gypsy women wandering and begging photograph was is taken unknown", but notdoes say location "the where the "somewhere inHungary". Thecaption Roma are situated inan unknown place square, three of sixphotographs the of ing name eventhe of street the or the of Jews were is taken indicated, giv - locationsthe photographs wherethe all (Meyercriminal 2014:185).Yet, while prejudice that Roma are work-shy or at work, thus countering common the While photos the of Roma feature Figure 2. Figure Holocaust Memorial Center in Budapest in Center Memorial Holocaust Representations of Roma in the first room of the of room first the in of Roma Representations groups. other the victim positionedbe vis-à-vis strategy as to how Roma might sensibly neither museum has actually aviable ly. TheRoma clearly do notbelong and that innot focus this applied universal- of two museums these demonstrates on individual but then, victims, case the caust" has brought with it astrong focus simply "Persecution of Roma". nies of four Roma women are labeled ish survivors are provided, testimo the - names the while Jew of interviewed - the testimonies on multimedia the stations, with Roma. When it comes to video the whereas there are no associated objects with "Jewish" professions and Judaism, introductory room associated can be girl. Furthermore, inthe artifacts the two of Roma and one of a Dutch Sinti tographs of Jewish but victims, only Thelatter includes morethan 50 pho- exhibitionthe and guidebook. inthe room, are they scarcery rest inthe of Museum and Holocaust the Memorial Jasenovac the respect, this Memorial information about perpetrators. the In combine voices the of with victims the of "integrated to it history", is crucial According to Saul Friedländer's concept about the Perpetrators? What The "universalization the of Holo- genocide against population. Serb the gave support" him"full for of policy the Bavarian residence inJune 1941,Hitler that during Pavelić's firstvisit to Hitler's 1941. Thecaption informsthevisitor Ante Pavelić during his visit to Hitler in est. One of shows them Ustaša the leader nent display and inter merit particular larged photographs that are on- perma comprises two massively exactly en- The tia". most prominent level of display tion of "Independent the State of Croa- contextthe of general the characteriza- tions with dealing mass murder but in predominantly feature not- sec in the are few and far however, between, and his collaborators". Even references these ment", "Ustaša inpower" or "Pavelić and "Ustaša authorities", "Ustaša the move- identifiesperpetratorsthe vaguely as ing on testimonies, video their it only gives agency to survivors the by draw- perspective. grees of integration of perpetrator the Center represent different two very de- While Jasenovac the exhibition clearly Figure 3. Figure Cropped photograph at the Jasenovac Jasenovac the at photograph Cropped Memorial Museum Memorial - gling to remove aring from his finger. foreground,the an elderly man- strug entrance to camp", the and shows, in photograph caption, bears the "At the an externalization of responsibility. museum's presentation thus amounts to resistance 2002: 161). The (Schmider strengthened anti-Nazi and anti-Ustaša most enemy image, since it significantly of Croatian first their Serbs, and fore- protested against Ustaša the persecution correct.factually Yet Nazis the actually of Croatian Jews and Roma, it would be Pavelić support full for annihilation the Had caption the stated that Hitler gave 8 Ustaša uniform, but instead of usu the - (Mataušić 2008: 125).He is wearing a tor pulling at an elderly coat victim's edgeleft the of photograph- perpetra a way. In cutout,original the at we see the The photograph is cropped ina specific rom the USHMM website we learn that that we learn website USHMM the rom The secondpermanentlyThe installed F 2018). (USHMM there murdered was who Zagreb, from a Jew Grunfeld, Theodore is victim the 8

3 14 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 4 14 Anali Hrvatskog politološkog društva 2018. rope that were operated not by Ger the death camps inGerman-controlled Eu- Romanians in Transnistria only – the tually –apart from camps the by run the that fact the Ustaša the camps were ac- Nowhere exhibition the does with deal camp (Jasenovac Memorial Site 2018b). of– seven directly linked to them the find short biographies twelveof Ustaša museum'sthe website, wherecan they to computer the terminals provided and information visitors again have to turn Bosnia-Herzegovina). To obtain further currentthe Republics of Croatia and of Croatia was largely coextensive with ing, given that Independent the State Muslim Ustaša is (which hardly surpris- nor mentioning that there were also of perpetrators the by neither showing itcerned, offers also asimplified account graphical context of camp" "the is con- only vague as far as complex the geo- image is presented at Jasenovac is not emblem on it. Thusthe way whichthe in black Muslim fez with usual Ustaša the capal worn by he is his wearing peers a or tortured infront them of rela their - bringing into food ghetto, the and raped ly robbed Jews, prevented from them fers to gendarmes systematical who - on ground. the The exhibition also re - waswho incharge of deportations the colonel Hungarian inthe Gendarmerie and Ferenczy,Baky László alieutenant ior ministers Endre László and László ment and "deportation the jun- trio": Hungarianthe collaborationist govern - dor Jaross, minister the of interior the in and two of his SSstaffers, but also to An- organizing deportation, the Eichmann to personnel German the responsible for visibility. It introduces visitors not only tographs displayed at highest the level of of perpetrators the with texts and pho- Budapest, by contrast, issue the tackles state. satellite mans but collaborators by local inaNazi The Holocaust CenterMemorial in - trators active on site. we donot anything learn - about perpe Jewsthe of Budapest or its own location, exhibition not does on focus fate the of and destroyed nations." Given that the nate world, the and to that end exploited that Jewish the 'race'intended to domi- Hungary, too, its proponents declaring vated antisemitism reared its in head moti"In racially - 1880s,'modern', the Hungary prior to 1930sand the 1940s: broaches issue the of antisemitism in Germans.the The exhibition explicitly Hungarian responsibility at feet the of tempt is made to and externalize lay anticommunist" Horthy regime. No at- "right-wing, antisemitic, nationalist and offersalso an unsparing account the of of female perpetrators. The exhibition but was participationty seized the also readiness with Jews' the which proper display, clearly documenting not just the Hungariansdinary looting aghetto on There areeventhree photographs of or for hiddenvaluables (Fritz 2010:171). tives, searching supposedly while them and different on two very examplesfrom musealizationthe of communist crimes of House the of Terror it when comes to "Holocaustthe template" on example the es." In following the of use the Idiscuss brings and legitimacy resourc to aparty - metaphoricalsuccessful embodiment relativization,and social sense inthis for is bound to conflict, entail sharp social as referent the qualify of metaphor this life.to of make The effort sense social to employ bridging apowerful metaphor nothing more, and nothing less, than to ofure anon-Holocaust evil the event is that evoking Holocaust "the to meas- JeffreyAlexander (2002: 51) has argued for Various Memories Victims' as a Containermemorialization "Just Jews" like –Holocaust the 3:Pitfall - - half in fact deal with the period of the with period the deal infact half rooms museum in the only two and a equation. Yet of more the than twenty entrance would hall, tothis reflect seem on front the of building the and in the and red the star are juxtaposed, both tion. The waywhichthe in Arrow Cross equate Nazi and communist- persecu omittedbeen entirely. of suffering under thelatterNazism, has only prioritized been over narrative the of suffering under communism has not communistthe era.Here narrative the installation comprises only of victims en by perpetrators. the Moreover, the are mug shots of humiliated- tak victims records of communist the police, they private innature, but were for taken the photographsthe displayed here are not "Towerthe of Faces" notwithstanding, TheGerman). apparent similarity to of Hungarian them but most of them communiststhe and Nazis the (afew (Hungarian) suffering the at hands of here to frame anarrative of collective in "western" museology, are utilized turnthe towards individual the victim Yet though aesthetics, reflecting these Children'sthe Memorial at Yad Vashem. basementthe is strongly reminiscent of roof. In addition, "Hall the of Tears" in ranges from ground the floor up the to portraits of on that victims the awall The Hungarian exhibition displaysalso tofell a massacre victim there in 1941. inwhatvillage is now Lithuania who of Jewish the community of aparticular 1890andbetween 1941of members the comprising private photographs shot USHMM,the installation athree-story of model the "Tower the of faces"from of Terror inBudapest. It has adopted Vashem found be can also at House the of aesthetics the USHMM the and Yad war of 1990s. the Bosnia-Herzegovina with regard to the Prima facie Prima The aforementionedtrend to emulate , the museum, the to seems of "Tower the of faces"yet omit is the - 53). The decision to emulatethe model control and Kovács (Seewann 2006b: and before Arrow the Cross Party took Horthy1944 – while in power was still invasion,German most of inMay them were immediately deported afterthe of that fact the most Hungarian Jews not more be stark. No mention is made Holocaustthe Memorial Center could 2008: 60).In contrast the respect this to itarian and antisemitic character (Rév and no reference is made to its author 44) is presented as ademocratic regime 1944/45. Horthy's government (1920– at of bank the river the winter inthe of membersparty of shooting Jews dead allusion to practice of the Arrow Cross tion of iceflowing downDanube,the an minimum. include They video a projec- caust, by contrast, are kept to an absolute heroic for Hungarian the struggle cause. contributeas they to narrative the of the presents individual stories only insofar against oppression" (84). The museum their lives rificed freedomtheor fight in fighters are depicted sac- as heroes "who are exhibited: here all photographstheir and short biographies 86). In prison the cells basement in the munist dictatorship" (Schmidt 2008: subsequent capacity of as "victims com- ture – only guidebook – in the in their for atrocities during World War IIfea- Indeed, responsiblevictims. eventhose Hungariansspeaking, were only ever Jewsther or former Nazis. Generally for most the were part, supposedly ei- number of Hungarian communists who, than Arrow the Cross Party and asmall plicity is minimized. It went no further powers.eign Domestic Hungarian com- and squarely placed at feet the of for its communist successor is externalized sponsibility for both regime this and for Nazithe occupation in1944.The re- Arrow Cross regime following installed Visual representations of Holo the - anti-communist - -

5 14 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 6 14 Anali Hrvatskog politološkog društva 2018. center stage. The exhibition – presented of as victims holocaust anew Bosniaks Sarajevo, places effort the to depict opened2016), which inJuly 2016in against Humanity and(Tolj Genocide goslav war (MacDonald 2002). "recent Holocaust" during post-Yu the - War displaced entirely IIhas been by the huge Jewish community during World of memory annihilationthe the of the or Nazis". "new In Bosnia-Herzegovina, adversariestheir Fascists" as "new the ent themselves Jews" as "new the and Yugoslav wars of 1990s,often the pres- Croats, referring when and Serbs, to the post-Yugoslav Muslims, space, Bosnian by referring to Holocaust. anew In the status ofup victim legitimacy their the recent conflicts the to feel need shore in another of victims more the way: of Holocaust the ory is universalized like Jews. the thata collectivevictim has suffered just to designed portrayin Hungaryfact as tims suggests that that exhibition this is representation of individual Jewish- vic Holocaust and refrain from visual the sue of Hungarian responsibility for the The private Museum of Crimes In former the Yugoslavia, mem the - Figure 4. Figure Museum of Genocide and Crimes against Humanity, Humanity, against Crimes and of Genocide Museum Sarajevo a baby's not in developed yet body fully of exhumedamong bodies, that them of posite are wall, photographs horrifying reference point. of Jews the Warsaw inthe ghetto as their chose universalizing to the use example tims to wear such armbands, yet instead ent State of Croatia forced too its- vic that, far to closer home, Independ the - could, of course, have drawn on fact the extermination way". inthis curators The religious group were marked to be for of David that members of an or ethnic wear white armbands with blue the Star 1939Nazithe decree for Polish Jews to nicipality. Thisthe was first time since from of territory the Prijedor the mu- MuslimsBosnian Croats and Bosnian ultimate removal of more than 94%of centration camps, mass rapes and the tion that resulted inexecutions, con- firstday campaignof a of extermina- town of Prijedor in1992:"Thisthe was wear similar armbands Bosnian inthe that forcedto to fact the Serbs Bosniaks his armband. is drawn then An analogy with aStar of David on gins with a photograph of a boy in the English, andin Bosnian, Turkish- –be Juxtaposed to image, this on op the - once: "Members of Mujahid El – were in Bosnia-Herzegovina are mentioned hero. The foreign Islamistswho fought 2018: 8),is presented as an undisputed term but subsequently acquitted (ICTY initially sentenced to atwo-year prison and around Srebrenica whom ICTY the mander Muslim of Bosnian the forces in from Herzegovina. Naser com the Orić, - camps or byCroats Serbs run Bosnian text board to denotealmost every prison term "concentration camp" on is used plates,tal and belongings. victims' The senting skulls, half-buried bones, den- graves includes astaged mass grave, pre- of a 3-year-old. section Theon mass during siege the of Sarajevo or skull the – including by children agrenade killed of victims bodies bloody the corpses, ed by photographs of anonymous mutilat - at are too since them they surrounded of atrocities. the Yet one can barely look touchingthe testimonies from survivors drawings,jects, and photographs, and next room are individual ob- victims' its mother's womb. What follows inthe Figure 5. Figure Poster at the Memorial Room of the Sarajevo-Potočari Sarajevo-Potočari of the Room Memorial at the Poster Memorial the 1995 Genocide in2007 1995Genocide the formorial Victims andthe Cemetery of opened at Srebrenica-Potočari the Me- pathy-evoking individual accounts. Warsaw ghetto massively eclipse em- the and equation the with Jews the of the delineation "us" and between "them", of horror,pedagogy black-and-white the – are not mentioned. The overwhelming and Muslim (Kohlmann Bosnians 2005) committed against –both non-Muslim and becoming soldiers".they The crimes countries for traveling illegally to Bosnia were considered home intheir criminals manitarian workers, some of while them Muslims. Some originally went as hu- of fighting for Islam and behalf on of and HerzegovinaBosnia with aim the 1992–1995war.the They in arrived foreign volunteers fought who during 9 e memorial room was co-financed by co-financed was room e memorial The memorial room ("Spomensoba") Th rial cemetary dates back to the decision decision the to back dates cemetary rial 2018). (Spomen soba London memo The in War Museum Imperial by the advised and Netherlands the and Britain Great 9 is another -

7 14 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 8 14 Anali Hrvatskog politološkog društva 2018. and Roma. formerthe Nazi transit camp for Jews Dutch memorial museum at site the of bypart ateam from Westerbork, the a different stand. It was createdlarge in building ten years later, in2017,takes Srebrenica-Potočari in an adjoining International Community" opened in "Srebrenica –Failure Genocide of the holocaust"."new Srebrenicaplanatory: is portrayed as a poster- the – 1945–1995–2005 – self-ex datesthe given above poster the within took of her and her sister. This renders cludes apicture that Anne Frank's father title "Anne Frank and family" and in- promoteswhich an exhibition with the – looking at aposter within poster, the came themselves to Serbs call Bosnian ily members of murdered those by the of Srebrenica" –as organized the fam - inSarajevo.gallery It shows a"Mother Srebrenica exhibited is which also ina Tarik Samarah for a2005exhibition on byposter designed photographer the in 1995. A dominant element is huge the Serbs fromBosnian had fled niaks the mission to large which numbers- of Bos of former the Dutch UNpeacekeeping at Memorial siteGenocide the Cemetery roadthe from Srebrenica-Potočari the inpoint.case The room is located across 10 poster equating Srebrenica the victims imilarly, the Kigali Memorial Centre in in Centre Memorial Kigali the imilarly, The new permanentThe new exhibition called former battery factory to 2003. to factory battery former of the musealization 2001, the in Petritsch Wolfgang Representative High UN of the (Ibreck 2013: 157).(Ibreck exhibition the create to memorial tingham Not for the responsible NGO British the commissioned US," and the and Europe in memorials Holocaust to "comparable rial for amemo called subsequently leaders cal politi Rwandan directors. its with nership apart formed mayor the Nottingham, in Centre Holocaust Shalom Beth the to a visit After house. acharnel as site of the use this extend to planned and remains victims' of the some displayed originally Rwanda S 10 While aforementioned the - - - - complex enclave –aBosniak Serb inthe in 2017today form asingle memorial and permanent the exhibition opened memorialthe room inaugurated in2007 morialization process. The cemetery, remains play role acrucial me inthe - as exhibition the text inroom 22 says. ofocide Srebrenica was not prevented", over questions concerning why gen the - haunted by nightmares and in anguish deprived of normal living conditions, live without many so family members, havethe families: leftin "They have to of void" "the of crimes the July 1995 heroic narrative. It broaches issues the of transforming crimes the into them a from making some kind of out sense with Holocaust, the but restrains also bition avoids not only blunt equalization Nazithe concentration camps. The exhi- wouldwhich directly associated be with as opposed to term"death the march", kilometers of Serb-controlled – territory and boys from Srebrenica through 100 heavily attacked march men of Bosniak term "Marchthe of Death" to denote the demonstrated, for instance, by of use the Srebrenica holocaust. as anew This is tentionally sought to avoid allusions to mains". to find mother's his mortal re- struggle teenage boy inSrebrenica and about his about life the and death of an ordinary Rijad Fejzic,ocide: You'll or 'Riki'. learn follow fate the of one of gen the victim - In words the of exhibit: the "Here you of one which is storyline". "personal the of story the Srebrenica on three planes, individualization.curators The narrate photographs of and victims, the their oncus fourteen survivorstories, private building, by contrast, places astrong fo- permanent exhibition adjoining inthe room (Hasanhodžić new 2017: 145), the features prominently memorial inthe with Jewish the of victims Holocaust the Furthermore, inSrebrenica human It would that seem curators the in- memorial does notmemorial does encompass are the trolled spaceafter the 1995. Whatthe authorities Serb Bosnian the con who - graffitialso createdstaff by working for perceive sexistor to be racist". There are of content the of graffiti the that they former compound are shocked by some though "many of people the visiting the text explains, done has this been even and contextualized. As exhibition the missions in1994and 1995preserved by Dutchbat the soldiers during their constructed and graffiti the behind left rooms, and bedrooms have re - been of events". the Former offices,meeting constructed at historical actual the site entation has unique the feature that it is UNPROFOR stayed here. This pres- individualthe rooms at when time the informationvides about of function the as exhibition the storyline", it, calls "pro- Dutchbat commando. This "functional at of time the massacre the housed the materialitythe of building, the which stories, a second dimension references bition comprises individual the victims' While one plane of permanent the exhi- autonomousnigh Srpska Republika ofpart Bosnia-Herzegovina, well- the Figure 6. Figure On the way from the Srebrenica-Potočari Cemetery to the new new the to Cemetery Srebrenica-Potočari the from way the On permanent exhibition at the former battery factory battery former at the exhibition permanent . seum in Sarajevo.seum Jews as new the niaks private inthe mu- strong contrast to depiction the - of Bos post-Yugoslavthe "war on –in memory" that successfully avoids pitfalls the of morial has contributed to an exhibition in Srebrenica and Westerbork the me- "travelled" 2011)to (Erll museum the morial museums have quite obviously resentation developed by Holocaust me- sites.hidden burial one have victim found been in up to five many of In them. someremains cases of memorialthe enclave and there are so locationsthese are situated outside of difficult to be achieve, though, since der and This victims. buriedthe would out carried actually mass the Serbs mur numerous sites at Bosnian the which dealing self-critically with perpetrators self-critically dealing fronting interms of past, the especially it when model comes to con critically - countries consider who Germany arole tuals inHungary and post-Yugoslav I have encountered numerous intellec- Conclusion The aesthetics and modes of rep- -

9 14 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 0 15 Anali Hrvatskog politološkog društva 2018. the practices ofthe in German situ muse and Croatian curators donot emulate and collaboration. And yet, Hungarian trast to comparable most –killed cases that Nazi these collaborators – in con- terms but not does confront issue the mentions Ustaša" "the general invery differ massively. The Croatian museum to perpetrators, two the museums these turbing points In incase. approach their Holocaustthe Memorial Center are dis- at Jasenovac the Memorial Museum and collective. The representation Romaof stereotypical manner, as an anonymous are depicted, still potentially evenina groups victim to others certain while technique short falls if it is applied only practice,as best yet musealization this museums established firmly has been pioneered by Holocaust the memorial of historical significance. reference that to fact the ten little more is offeredthan asimple materiality of respective the location. Of- at price the of erasing specificity the and um concept situ to in saw, "import" the of memorial the muse- for stories. avariety of victim Yet, as we membrance has become as acontainer proves how universalized Holocaust re- rative of Hungarian collective suffering and Yad Vashem to legitimize its nar emulates of aesthetics the USHMM the that The fact eventhe House of Terror encing primarily an American museum. to prove European-ness their by refer ymous etc. corpses Instead, strive they ticity" of or objects display the of anon- of debates German about "authen the - ums or pay attention worth to decades' The individualization thevictim of sites tends to come the location the is - - - morial museum concept prevails. still death camp yet, where generic the me - reached site the of former the Jasenovac Treblinka (Sturdy 2015),it Colls has not sites Sobibor and European memorial sites, firstthe all of impact of turn this on many Central atrocities. Although the we can observe memorialization and musealization of It stands for "forensic the turn" inthe housedwhich Dutchbat the command. people sought shelter, and building, the tery, former the inwhich battery factory and spatialities of site this ceme –the - roleon crucial the of materialities the ofmode musealization. It draws also vidualization of as acentral victims the and Srebrenica and "imported" indi the - It has avoided equating Holocaust the ofrience a"western" memorial museum. otherthe hand,from benefits - the expe at Srebrenica-Potočari the memorial, on permanent The corpses. new exhibition overwhelming photographs of bloody ofagogy horror, displaying numerous Jews"as new "the and relies- on aped vo bluntly Muslims portrays Bosnian ways. The genocide inSarajemuseum - has become –albeit inrather different universalized Holocaust remembrance nia-Herzegovina demonstrate also how brenica dedicated- to war the inBos petrators. Hungarians –men and women –as per even displays photographs of "ordinary" responsibility for Holocaust the and extensivelytrast, deals with Hungarian camp. The Budapest museum, by con- of in a domestic victims their death The museums inSarajevo and Sre- - Eckel, Jan, Moisel, Claudia. 2008. (eds.). Diner, Dan. 2007.GegenläufigeGedächt - Wegerer, Cornelia, Brink, Jonas. 2012. Brandstetter, Anna-Maria. 2010.Con Benyovsky, Lucia. 2007.Muzej uJase- Benčić-Rimay, Tea. 2006.Spomen pod Assmann, Conrad, Sebastian. Aleida, Apor, Péter, Sarkisova, Oksana. (eds.). Alexander, Jeffrey C., Jay, Martin, Gie- Alexander, Jeffrey So- C.2002. The References innerungskultur und Geschichtspolitik Geschichtspolitik und innerungskultur Universalisierung desHolocaust? Er Ruprecht. & Holocaust nisse. Über Geltung und Wirkung des 5–14. Bildwirkungen. takt, fotografischer und Aufnahme den Zusammenhang- von Gewal Wie kommt ins Bild. dieGewalt Über Advanced Study. Wassenaar: Netherlands Institute for brance in Post-Genocide Rwanda . tested Pasts: The Politics of Remem- ra novcu. Jasenovac.područje Jasenovacručje . Jasenovac: Spomen Basingstoke: Palgrave. Discourses, Practices and Trajectories. 2010.Memory(eds.). in aGlobal Age. dapest: CEUPress. Cinema and Museums after Bu 1989. an Representations of Communism in 2008. Press. debate 2009. Elihu, Katz, Ruth, Hartman, Geoffrey. Manne, Glazer, Robert, Nathan, Katz, Bernhard, Rothberg,sen, Michael, 1368431002005001001. Theory versals. of Construction Moralcial Uni- . 1–4:52–57. Past for the Eyes: East Europe- . New York: Oxford University Remembering the Holocaust. A . (5) 1: 5–85. DOI: 10.1177/ . (5)1:5–85.DOI: Vijesti muzealaca ikonzervato- European Journal of Social . Göttingen: Vandenhoeck Fotogeschichte . 125: - - - - Frojimovics, Kinga, Komoroczy,- Ge Fritz, Umgang 2010.Der Regina. mit Erll, Astrid. 2011.Travelling Me - Jasenovac Memorial Site. 2018a.List of Ibreck, Rachel. 2013. 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3 15 Lj. Radonić, The Holocaust Template – Memorial Museums in Hungary, Croatia and Bosnia-Herzegovina, Anali 15 (1) 131-154 (2018) 4 15 Anali Hrvatskog politološkog društva 2018. Ungváry, Krisztián. 2011.Momentau- Ungváry, Krisztián. 2010.Remembe- musforschung Jahrbuch für historische Kommunis historische für Jahrbuch ßerhalb der Geschichtswissenschaft. rungskultur in Ungarn. Debatten au- Aktuellefnahme: Fragen- derErinne 155–158. of Modern European History. (8) 2: Rákoskeresztúr.Cemetery Journal The 'House of Terror'Central theand ring Communist inHungary: Crimes novac, Srebrenica iHercegovina, Bosna Jase Hrvatska, muzeji, Mađarska, Ključne riječiMemorijalni centrui naMemorijalnom Srebrenica-Potočari. odrazili naMuzeju zločinaprotivzeja holokausta čovječnosti igenocidauSarajevu dijelu teksta nudianalizunačinanakojisusetrendovi mu- izmemorijalnih potekli "doputovali" idomuzeja posvećenih postjugoslavenskim ratovima. Uposljednjem univerzalizirano.sjećanje na holokaust Autorica trendovi tvrdi da su ti muzeološki načinjenicudaje što ukazuje muzeja memorijalnih holokausta, te "zapadnjačkih" vo obilježavanje natječe sasjećanjimanakomunističkezločine, sadržavaju elemen- ostavili biizbjeglidasenjego imuzeji postrance kojisutemu holokausta kako kao svoju doraslostpokazati Europi tijekompregovora Europskoj opristupanju uniji, i holokausta Yad Vashem. Muzeji nastojali udržavama kojisu, ističućiholokaust, sni iHercegovini odražavaju trendove muzej memorijalni kojesupostavili Američki iBo muzeji memorijalni uMađarskoj, serazmatra Učlanku Hrvatskoj Sažetak kako Predložak holokausta – memorijalni muzeji u Mađarskoj, uMađarskoj, muzeji –memorijalni holokausta Predložak . 17:299–306. Hrvatskoj i Bosni iHercegovini iBosni Hrvatskoj - Williams, Paul. 2007.Memorial Muse- Walasek, Helen. 2016. USHMM. 2018.Available at https:// Academic. Atrocities rate ums. The Global Rush Commemoto - don: Routledge. Destruction of Cultural Heritage Lon . 2018. Accessedlog/pa1060095. 14, October collections.ushmm.org/search/cata- . Oxford: Bloomsbury Bosnia and the - - - -