This two-part installation consists of two plates, each mounted on an identical grey marble plinth.
The first object is a decorative souvenir plate inscribed Berchtesgaden. What presents itself as an innocent Biedermeier object becomes charged through its historical context: the Obersalzberg and Hitler’s residence. History does not appear as representation, but as a latent presence embedded in familiar aesthetics.
The second object presents an empty white 3D-printed plate. The plate itself remains mute and indeterminate. The inscription Ort der Unschuld is placed on the marble plinth. Innocence is thus not depicted, but supported and grounded.
In German, Ort der Unschuld does not primarily denote a geographical site, but evokes a poetic space of memory, longing, and lost innocence. The installation examines how such abstract innocence can emerge as a spatial and aesthetic effect. Through order, repetition, and modes of display, history loses its friction and becomes neutral, available, and self-evident.