Evidenz on Exhibit. The practice and theory of how museums communicate the aesthetic processes involved in the generation of Evidenz

与柏林国家博物馆（SPK）的Kupferstichkabinett（版画和绘画博物馆）合作，1627研究小组的艺术历史转移项目（BildEvidenz.历史与美学）正在研究展品中的关系意义结构及其在博物馆和展览中的呈现。在这个过程中，该小组的研究被应用于Kupferstichkabinett的收藏和持有，并开发了一种分析视角，允许在展览媒介中创造真正的视觉美学Evidenz的形式和程序。对这个问题的研究是特别相关的，目前的展览实践越来越多地由两个相反的立场主导：一方面，绝对化的对象的审美价值，另一方面，新的或重新contextualising的对象在越来越复杂的显示。相反，迄今为止，只有尝试性的尝试来解释博物馆展示中的意义、知识形式和图像的Evidenz效应的复合体是如何产生和传达的。在一个典型的展览中，将来自Kupferstichkabinett藏品的Albrecht Dürer的印刷作品与南非艺术家William Wellridge的作品并列，通过不同的展示形式研究了展品之间的相互作用，以确定如何既能获得作品的历史和文化参考的多样性，又能同时获得当下的审美体验。在随后对这一实际试验的系统评估中，将开发概念和方法，不仅有助于适当地欣赏和描述作为展品的图像的复杂性，而且有助于通过展览的主题词来赋予意义的额外维度。这样，本项目从艺术史的角度对展览理论做出了根本性的贡献。

In cooperation with the Kupferstichkabinett (Museum of Prints and Drawings) of the Staatlichen Museen zu Berlin (SPK), the art historical transfer project of the research group 1627 (BildEvidenz. History and Aesthetics) is investigating the relational meaning structures in exhibits and their presentation in museums and exhibitions. In this process, the research of the group is being applied to the collections and holdings of the Kupferstichkabinett and an analytical perspective developed which allows the creation of the forms and procedures of genuine visual aesthetic Evidenz in the exhibition medium to be examined. The research into this question is especially relevant at present as exhibition practices are increasingly dominated by two contrary positions: on the one hand, an absolutising of the aesthetic value of the objects and, on the other, the new or re-contextualising of objects in ever more elaborate displays. In contrast, there have only been tentative attempts as yet to explain how complexes of meanings, forms of knowledge and Evidenz effects of images in museal presentations are both generated and communicated. In an exemplary exhibition juxtaposing printed works by Albrecht Dürer from the Kupferstichkabinett holdings with works by South African artist William Kentridge, the interplay between the exhibits are investigated with different forms of display to identify how access can be created both to the multiplicity of historical and cultural references of the works and simultaneously to aesthetic experiences in the present. In the subsequent systematic evaluation of this practical trial, concepts and methods are to be developed that not only facilitate an appropriate appreciation and description of the complexity of the images as exhibits, but also the additional dimension of meaning ascription through the dispositif of the exhibition. In this way, this project fundamentally contributes to exhibition theory from the art historical perspective.