. The idea is as unusual as it is captivating. Sinje Dillenkofer deals in her conceptual group of works "Cases" with historical storage boxes for cutlery, vessels and other utensils. Behind the banal enumeration lies a complex structure of thought. It is about the task of museum institutions as a place of collection and storage of culture. The photographer makes systems of order visible - the storage facility becomes a cipher here, the 'box' (case) becomes an image. The sober legends to the pigment prints are then called, for example, "Schützenbecher, aus Anlass des zehnjährigen Stiftungsschießens der akad. Schützengilde in Innsbruck, 1909 gespendet von Erzherzog Eugen, TLMF, HistorischeSammlungen, Innsbruck" or succinctly "Duellpistolen, Privatbesitz, ca. 1880" - these presented here in a current edition. The designations are an important part of the work because they denote the vacancy of the image. For Dillenkofer photographs only the empty container, whose contents can be perceived as having value and meaning: one suspects what was in the container. It now embodies - alienated in color and monumentalized - the absent, and even more: the invisible becomes sensually tangible and auratically present. Since the artist is also concerned with the materiality of the object itself, she does not want the works to be misunderstood as mere photographs: In turn, object boxes are created that color-spatially remodel the contents of the cutlery box. In doing so, Dillenkofer reflects on the intrinsic value of objects within society as well as the playful crossing of boundaries between fiction and documentation. Seen from today, the opulence of the photographed boxes is hardly in proportion to the effort required to store them. At the same time, the artist is attracted by "a landscape of lines, shapes, depressions, and elevations that emerged in the lid of the suitcase as pressure marks and hatchings... a box full of projections, longings, interests, and values that now, in terms of our expanded concept of art... seemed to me to be an interesting starting point for artistic explorations." Sinje Dillenkofer uses the dialogue of the represented and the representation to question the value, which obviously changes over time, how the social classes change, which make use of such things - and last but not least also the functions of the objects with regard to life as well as art. A particular challenge in Sinje Dillenkofer's visual language is the implementation of painterly elements (form, color, line) with photographic means (light, shadow). These allow to vary the proportions in such a way that an abstract form is created, which the viewer must place associatively in the context of the image and surrounding space. "After all, what is actually visible takes place only in his mind." The artist strives for this involvement of the recipient throughout her work, which blurs the boundaries of authenticity and imagination.