Challenge #2: A Meaningful Online/Offline Experience
During a period of intensive digitization, museums have created a large amount of material in digital form. The museum of the future integrates physical and digital space seamlessly and creatively to reach not only its audience but to impact society at large.
The number one priority of any museum is to allow public access to its collections. The Museum of Modern Art has been looking for new ways of accessing and using museum collections that would go beyond the simple concept of making the material digitally searchable and identifiable through rich metadata. Their challenge for the participants was to find ways of opening up digital data, not only as research information, but as a physical experience, with the purpose to stimulate the public to use and understand its archives and collections.
Bodies of Knowledge
Bodies of Knowledge is a “playable archive” installation created in collaboration with the Temporary Slovene Dance Archive at +MSUM. It allows visitors to access and contribute to archive content through their gestures. The installation shifts the archive from a site of knowledge retrieval to one of knowledge production, and disassembling and mobilizing its documents, technologies, and institutional framings into new compositions. In the spirit of modern dance, Bodies of Knowledge breaks the internal logic of the archive by releasing the emancipatory power of movement. Historiographic structures dissolve, allowing the emergence of alternative wisdoms.
Cyrus Clarke (France) is an artist, designer, and technologist, working as part of the Supercute Collective of Interaction Designers. He studied at the University of Nottingham and completed his MA at the Copenhagen Institute of Interactive Design. Clarke is working on several projects; among others, he has created a game to teach blockchain to non-technical audiences.
Juliana Lewis (Denmark) is an interaction and experience designer. She studied at Columbia University and later completed a PhD in philosophy at Vanderbilt University. She is part of the Supercute Collective of Interaction Designers and works at the Natural History Museum of Denmark as a digital experience and interaction designer.
Monika Seyfried (Poland) studied Audovisual Media at the Academy of Fine Arts in Warsaw and completed her MA in interaction design at the Copenhagen Institute of Interaction Design. She is also part of the Supercute Collective of Interaction Designers, and she currently works as an interaction designer at CIID Research.
Giulia Cordin (Italy) is a graphic designer focusing on communication and editorial design. She has a BA from the Free University of Bolzano and a MA from ISIA Urbino. She is a PhD candidate in the Interface Cultures Program at the University of Art and Design Linz. Since 2018 she has been on the editorial board of Progetto Grafico, the leading Italian magazine on graphic design culture.
Luigi Savio (Italy) studied architecture at the Polytechnic University of Milan. He has been part of the curatorial project theTomorrow, founded by Stefano Boeri and Pierpaolo Tamburelli, since 2015. He is currently working with Studio Folder in Milan on the set design of the XXII Triennale of Design “Broken Nature.”
Matevž Straus (Slovenia) is a project leader at Arctur and holds an MS in urban studies, an MA in market communications, and a BA in analytical sociology. He has been working at the crossroads of cultural heritage and innovation for the past five years.
Paolo Patelli is an architect involved in spatial design, artistic and academic research, and education. He is an Associate Lector “Places and Traces” at the Eindhoven Design Academy and a lecturer at the Willem de Kooning Academy in Rotterdam. He obtained his doctorate from the Polytechnic University of Milan. In 2017/18, he was an artist-in-residence at the Jan van Eyck Academy in Maastricht. He has exhibited, lectured, and published internationally. He lives and works in Amsterdam and Italy.
Ida Hiršenfelder (born 1977) is archivist and sound artist that works at the Metelkova Museum of Contemporary Art (+MSUM) on projects related to digital archives. She is a coordinator and editor of the Web Museum, a repository for contemporary AV art, a member of the editorial board of L'internationale Online, and a co-curator of the Glossary of Common Knowledge. Earlier, she was a digital archivist at the Center for Contemporary Arts (SCCA) in Ljubljana (2007–2013). Media archaeology, temporality, archives, and their disappearance are some of her key interests.
The Museum of Modern Art Ljubljana is a national museum that works in the fields of modern and contemporary art. It was founded in 1947 as a modern art museum. With Slovenia's independence in 1991, the Museum of Modern Art became an increasingly active link between the local and the international contexts, in particular between central and eastern Europe. Since 2011, the Museum of Modern Art has operated at two locations: in its original building (MG+) in the center of Ljubljana and at the Metelkova Museum of Contemporary Art (+MSUM) located in the renovated premises of former military barracks. The museum concept advocated by the Museum of Modern Art follows its own orientation and resists existing hegemonic models. In the crucial period of the 1990s, the Museum of Modern Art refused to become a postmodern museum of sensations and intense experiences; on the threshold of the new millennium, it clearly developed the concept of an art museum that advocates a plurality of narratives and the priorities of local spaces that intend to enter equal dialogues with other spaces only with their own symbolic capital.