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Osamas Map



mapping, exhibition


Seifeldeen Hesham


211110 – Presentation "Doing Display"

Working Question:
How Display components expand from antiquated methods to tangible sceneric experiences?
The following are analytical observations resulted after a field research in Das
Dokumentationszentrum Flucht, Vertreibung, Versöhnung, Berlin, Oct 2021.
According to the official statement of the center, the exhibition displays personal belongings
(announced as “original” objects), documents and photographs. The statement also
demonstrates the display as a “multifaceted” presentation.
The method of representation was formed through a categorical system, based on the
“purpose of use” of each item (transportation, financial aids, etc.) with neglection to
historical or geographical frames of reference. The exhibition backstage(s) (immigration
routes, causes, time and spatial dimensions) were faded through the unification process to
form the display podiums.
The objectification of the exhibits formulated inconsequential narratives for the viewer,
resulting in a visually oriented display, rather than a comprehensive informative narration,
which is a direct contradiction to the “Dokumentationszentrum” official objective: “The
center provides information about the causes, dimensions, and consequences of displacement,
expulsion and forced migration”. as the focal point was not the coherence of the Exhibits, but
the display itself.
As a case study, I selected an exhibited map of the flee road from Syria to Germany, from the
included visual language, the Exhibit belongs to a Syrian Child named Osama, in Germany
{Ca. 2011-2020}, displayed anonymously without further information.
The map is a visual display of its (or Osama’s) backstage journey, however, the anonymity of
display raised our uncertainty around the piece, whether it was done spontaneously by the
child, or under adult supervision, whether it was expressed out of neutrality or is there hidden
agendas embedded behind it. The viewer’s involvement here is questioning the curators
approach, rather the displayed item itself, which is the purpose of such a specialized
Within our field research, we captured an image of the item, built further analysis on the
communicated massage. We reached that, surprisingly, Osama (the child) had a better display
method for his experience than the curators. The anonymity of the display and the pre-settled
categorical system declined our receptacle analysis on the item, until it was taken out of the
display context. The display was misleading that even some of us (Master Students on a field
research mission) did not even notice the exhibited item at all.
As the discussed exhibit is a demonstration of a geographical journey, with a focal point on
the spatial aspect in correlation with fleeing obstacles, the suggested display method is to
present the communicated information as a scenery method, in a room-based experience with
spatial aspects that applied the kid’s visualization as a reference to guide the visitors, by
mapping his perceptions onto the exhibition space; 9 rooms, reflecting 9 journey steps. Each
room to include a digital display portal, playing archived video/audio materials that correlate
to the same estimated locations, and circumstances visualized on the map; Here the visitor’s
involvement will be oriented on formulating comparative analysis of what happened on
camera, and how a kid’s interpretation could conceptualize it.

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  • Felix Egle


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Amazon Atlas

I_2021 BA


mapping, digital, space


Katharina Peters


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Gecekondu Photoreport





Lina Herschel


Project: This publication deals with the photograph news coverage of the Gecekondu issue in Istanbul in the 20th and the beginning of the 20rst century. Base
This publication deals with the photograph news coverage of the Gecekondu issue in Istanbul in the 20th and the beginning of the 20rst century. Base for this work is an archive provided by the NGO »Beyond Istanbul« which gathers over 500 newspaper clippings from all kinds of newspapers in Turkey dealing with the issue going back to the first mention in 1932.
The photographs are shown in chapter of decades and within these decades it is organised in five different topics: Gecekondu issue in general, urban transformation in Istanbul, legal processes concerning the legalisation of the inofficially tolerated settlements, demolition of Gecekondular which are often a result of forced disappropriation and the later formed resistance of the residents. The themes are shown one after another and within those they are in chronological order. In the decades of the 90s and the 2000s was the highest rate of articles reporting about Gecekondular with photographs.


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Osamas Map ongoing J_2021-22 Seifeldeen Hesham
Amazon Atlas archived I_2021 BA Katharina Peters
Gecekondu Photoreport archived A_2017 Lina Herschel