Seite - 44 - in JRFM - Journal Religion Film Media, Band 03/02

44 | Celica Fitz and Anna Matter www.jrfm.eu 2017, 3/2, 37–51 Fig. 2: Panel Jessica, Detail, Photography by Lilli Obholz © SinnRäume themselves make the content accessible to visitors through the application of contemporary museological concepts, that is, by applying visual, audible, and olfactory elements. in addition to reading direct quotations, visitors can also listen to interview excerpts, prayers, and hymns. Objects loaned by the inter- viewees and things used in religious practice can be touched, viewed, and even smelled. finally, besides these interactive elements, visitors can become part of the exhibition itself by means of participatory submodules. arChiteCtUre When visitors enter the exhibition space, they find themselves at the center of an installation. they are surrounded by door-sized panels that each introduce one of the eight case studies by means of photographs, texts, and quotations. the exhi- bition architecture suggests eight abstract spaces within the space of the exhibit. ideally, the experience should be that of entering a room. the design elements have a curious voyeuristic aspect to them and arouse the visitor’s interest in the spatial concepts that are introduced. in the middle of the exhibition space is a four-sided column where the four working categories – religion, space, things, and living – are explained. the category of religion is discussed on the front of the column. Behind the column there is a showcase with ob- jects (on loan) from our inter- viewees and a panel titled “a transparent exhibition” (Eine durchsichtige Ausstellung), upon which we reflect on our principle question, about the ability to exhibit, both things in general and in our exhibi- tion in particular. here paper and pencils are provided and visitors are invited to com- ment (upon themselves) and contribute their ideas and per- sonal stories to the exhibition. to ensure that our eight case studies are presented and perceived as equal and