Leseprobe

URSULA HALLER PRESERVING TRANSPARENT FIGURES. THOUGHTS ON THE CONSERVATION AND RESTORATION OF VERY SPECIAL HISTORICAL OBJECTS The preservation of the Transparent Figures requires the participa- tion of many people and several quite different disciplines. However, this is not only a complex task that requires interdisciplinary re- search and action but is instead primarily a project for generations. The focus is on the research and work area of conservation or res- toration sciences, which, in itself already faces a major challenge, being highly interdisciplinary, and in this special case closely linked with the history of culture and technology, museology, analytical chemistry and especially air-conditioning and exhibition technology. As so often, not only the preservation of physical constructs of var- ious materials is of vital importance here. These historical objects convey something immaterial to future generations that first needs to be defined. Thus, the “what” comes before one can occupy one- self with the “how” – in addition to the thorough examination of the material and its condition. In this case, this means approaching many questions: to what purposes were Transparent Figures man- ufactured? What did Transparent Figures mean to viewers of the past? What do historical Transparent Figures convey to us today? What might they become for future generations? What should thus be the objective of preservation? May a preservation measure alter Transparent Figures that have visibly aged? And one thing should not be forgotten: there is no such thing as “the” Transparent Figure. The “Transparent Figures” workshop of the Deutsches Hygiene-­ Museum (DHMD) produced various products from a variety of ma- terials for different presentation and exhibition contexts or teaching purposes for around seven decades under varying contemporary historical circumstances. 1 Is it even at all possible to make general statements about preservation strategies for Transparent Figures, or must each figure be viewed as a unique piece? 2 ‹ Fig. 44 Transparent Man from 1935 in the special exhibition “Racism. The Invention of Human Races”, 2018 105