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，研究小组1627 （BildEvidenz）的艺术历史转移项目。《历史与美学》（historical and Aesthetics）研究展品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库普费斯蒂奇卡比奈特的收藏和藏品，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证据的形式和程序。对这个问题的研究在当前尤为重要，因为展览实践越来越被两种相反的立场所主导：一方面，对物品审美价值的绝对化，另一方面，在更精致的展示中，对物品进行新的或重新语境化。相比之下，迄今为止，只有试探性的尝试来解释博物馆展示中图像的意义、知识形式和证据效应的综合体是如何产生和传达的。在一个典型的展览中，来自Kupferstichkabinett馆藏的Albrecht d<e:1> rer的印刷作品与南非艺术家William Kentridge的作品并放在一起，展品之间的相互作用通过不同形式的展示进行了调查，以确定如何创建作品的历史和文化参考的多样性，同时也为当前的审美体验创造了机会。在对这一实际试验的后续系统评估中，概念和方法将得到发展，不仅有助于对作为展品的图像的复杂性进行适当的欣赏和描述，而且还有助于通过展览的配置来赋予意义的额外维度。这样，这个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.