CURATOR

ZKM | Center for Art and Media Karlsruhe (DE)

BIO

Lívia Nolasco-Rózsás is a curator and researcher. She has been curating exhibitions at contemporary and media art institutions worldwide since 2006 among others at the ZKM | Center for Art and Media Karlsruhe, Chronus Art Center (Shanghai), Badischer Kunstverein (Karlsruhe), Műcsarnok (Budapest), focusing on the constantly changing media of contemporary art and intersections with various disciplines. She initiated and developed thematic exhibitions raising questions such as the genealogy and social impact of planetary computation and computer code, electronic surveillance and democracy, or synesthetic perception. From 2019 she has taken up a research in curatorial studies on the “virtual condition” and its implications in the exhibition space at the Academy of Fine Arts Leipzig, and acting as head of the international cooperation project entitled BEYOND MATTER at ZKM | Karlsruhe, with the participation of institutions such as Centre Pompidou, Aalto University, etc. She finished her studies of art history and aesthetics at the Eötvös Loránd University Budapest in 2010.

ABSTRACT

Revival of Clashes in Representation and Materiality

Past exhibitions, even if they draw the attention of today’s audience, are barely accessible due to the general insufficiency of hitherto used documentation methods.

In this sense the already dismantled spatially organized assemblages of materials and thoughts can be declared dead, especially if we accept the premise that exhibitions are alive, when they are up and running, and this vividness is strongly dependent on their spatial qualities.

We, the living, can decide, whether we resurrect and revive them by the means of technology. In this, as well as in other cases, “[t]echnology is […] no mere means. Technology is a way of revealing.“ (Heidegger: 1954)

Two institutions committed themselves to examine the possibility of revival through experiential methods of digital, spatial modelling on the case studies of Les Immatériaux (Centre Pompidou, 1985), and Iconoclash (ZKM | Karlsruhe, 2002).

The publication of such models might have a substantial effect on the future reception of the revived exhibitions, therefore the presentation aims to reveal yet open questions we are facing, while preparing the production.