Page 83 - Studia Universitatis Hereditati, vol 11(2) (2023)

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ti Figure 10: Projection of shadows of people on the wall

behind the showcases that can be made visible when
the audio-guides are activated (photo: Catherine
ta the Documentation Centre (in comparison to a visible sign with a “quiet gesture”?
Perron, 2015)

the Heimatmuseum, the oldest and most wide-
di spread form of musealisation of this past) is best Figure 11: The projection on the wall of a shadow that has
understood. At first glance, none of the visual
icons of “flight and expulsion” are missing in the
transformed itself in a graphic novel type image, inspired
Documentation Centre: ladder trucks, keys, fur
cal Flap) , of young polish man, who documented
coats, chests, suitcases, armbands, traditional by a real photography (to be seen on the green biographi-
here Heimatmuseen, where they are mostly used as
the forced resettlement of the polish population with
costumes, etc. are all on display.
his camera. (photo: Catherine Perron, 2015)
Yet their handling differs from that in the
decontextualised symbols. In the Documenta-
tion Centre, the curators paid great attention
to object histories: the objects’ lore, provenance,
etc. are stored in object databases and narra-
tives related to these objects are specifically que-
studiauniversitatis
ried and documented. The use of artefacts, imag-
es and films in the exhibition is characterised by
a source-critical and multi-perspective approach
whose goal is, as Volkhard Knigge (2002, 388)
writes about the Nazi memorials, the “disentan-
glement of the realia and the relic through the
suspension of respect for the relics in the careful
handling of the realia”. Here the influence of me- Figure 12: A projection on the wall in the graphic novel
morial collecting and exhibition practice of the style of several members of a German family forced
curators, many of whom had previously worked to stay in Poland. The original image is to be seen
in Berlin’s Memorials, cannot be overlooked. All on the green biographical flap next to the showcase
in all, the exhibition does refrain from using the (photo: Catherine Perron, 2015)