Museums Without Walls 2022 conference & exhibition by Gabriel Menotti

Agnes Etherington Art Centre

Land Acknowledgement Artificial Museum

The Museums Museums Without Without WallsWalls conference and exhibition takes place at Queen’s University, situated on the unceded territory of the Haudenosaunee and Anishinaabek peoples. Museums have long participated in the exploitation and fetishization of indigeneous peoples. We also believe that the virtual is material, and that principles of colonialism play out – often in subtler forms – when translated into virtual systems. We can only hope that this conference begins to draw out ways that contemporary museological practices can be counter-colonial in theory and practice.

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MUSEUMS WITHOUT WALLS CONFERENCE & EXHIBITION ISABEL BADER CENTRE QUEEN’S UNIVERSITY KINGSTON,ON 2022

Agnes Etherington Art Centre

Artificial Museum Isabel Bader Centre for Performing Arts

Museums Without Walls

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MUSEUMS WITHOUT WALLS CONFERENCE & EXHIBITION ISABEL BADER CENTRE QUEEN’S UNIVERSITY KINGSTON,ON 2022

9MUSEUMS WITHOUT WALLS9 9PROCEEDINGS 9GABRIEL MENOTTI (ORG.) 92022

INTRODUCTION

0 The global pandemic has laid bare the technological crossroads where cultural institutions find themselves in the early 21st century. By promoting the superabundance of content and multiplying the transversality of connections, computer networks have increasingly undermined the authority of museums as sites for memory preservation, collection stewardship, and discourse reproduction. All the while, new media systems keep promising to expand the museal apparatus and radically transform the ways in which art institutions can perform their

mandates and operate within society. 0 Has the modern project of the museum finally come to its terms? Can future forms of socio-cultural institutionality be found among online databases, simulated environments, social media communities, smart contracts, and other computer platforms? And, more importantly, is this an opportunity to unsettle asymmetrical power structures and systems for knowledge and resource extraction, or does it merely represent another stage in the continuing erosion of the safeguards for the commons? 0 These questions invite us to reclaim notions of virtuality from the technopositivist buzz and revisit the long history of relationships between museums

and media. In this spirit of critical and social museology, MUSEUMS WITHOUT WALLS seeks to open space for the discussion and exercise of new configurations for art and cultural institutions among other information technologies. 0 The three-day conference follows MUSEU SEM PAREDES, a short exploration in how the Espiríto Santo Art Museum (MAES), a state institution in coastal Brazil, could operate otherwise through new media platforms. While MAES was closed for renovations and the pandemic, its building was translated into a dynamic WebVR environment for artist residencies, pieces of its collection were made into AR filters, and a whole alternative exhibition program took place by the means of a fictional podcast.

0 The title of this event, as that of the original project, draws from André Malraux’s work on the imaginary museum. It evokes how photography in particular – and technical media in general – liberates art history from the hold of exclusive authorities and the physical confines of any one building. In doing so, media could enable more radically heterogenous, multiple, and scalable configurations of the museum. 0 Likewise, the many contributions to MUSEUMS WITHOUT WALLS examine the role played by media technologies in current, past, and future museal practices. They propose further ways to: dispute ossified narratives and account for overlooked artforms; access and engage with collections; return cultural artifacts to the spheres of circulation; care for the publics, their

histories, circumstances, and modes of expression. Underlying all of these discussions, there is an invitation to rethink what the scope of a museum should be – which shapes a museum, as an assemblage of information technologies, should take – in order to face the many challenges of late capitalism 0 The exhibition that accompanies the project, along with the online seminar that follows it, represent humble attempts to exercise our commitment to expand institutional forms from the inside. We hope they enable these conversations to unfold in even broader and more inclusive terms.

CONTENTS

On-site 14 18 20 29 Exhibition 32 On-line 56 59 59 Index 72 Bios 74 Colophon 80

Schedule Keynotes Panels Workshops Schedule Workshop Panels

ON-SITE

MONDAY, AUGUST 15 ISABEL BADER CENTRE FOR THE PERFORMING ARTS Workshops at rooms 312, 329, and 342. Exhibition opening at the Art & Media Lab. All other activities taking place at Room 222 (screening room).

09.00AM 10.00AM

REGISTRATION & COFFEE PARALLEL WORKSHOPS SESSION

How to Write a 100-year Plan George Oates

Flickr Foundation

Representing the Aesthetics of the Ecological Luisa Ji & Jerrold McGrath UKAI Projects Collective World-Making: Envisioning Futures through Machinic Collaborations – part 01 Teodora Fartan CSNI/LSBU

12.00PM 01.30PM

LUNCH BREAK SCREENING

SITE

Grosse Fatigue Camille Henrot

02.00PM

PANEL “THE EXHIBITION MULTIPLE”

Total Screen: The Exhibition that Did/Did Not Take Place Amandine Alessandra, Carole Lévesque Katharina Niemeyer, Magali Uhl UQAM Marine Baudrillard Cool Memories Association

SCHED 03.00PM

Pan-Tilt-Zoom: An Exhibition for the Electronic Eye Blake Fall-Conroy & Nimrod Astarhan Art Institute of Chicago

PANEL “CURATING ACROSS MEDIA”

The Meander and/as Curatorial Process Treva Legassie Concordia University House-Studio-Gallery: publishing mobile strategies of display & mediation paula roush CSNI/LSBU

04.00PM

SCREENING + TALK

Cinema of Transmission Michael Connor Rhizome

06.00PM

MUSEUMS WITHOUT WALLS EXHIBITION OPENING AND BOOK LAUNCH

07:00PM

JOINT OPENING RECEPTION WITH THE INSTITUTE FOR CURATORIAL INQUIRY

07:00PM

PERFORMANCE PROJECTION

at the Art and Media Lab, Isabel Bader Centre

at the Agnes Etherington Art Centre Place in Time 3: AE Ana Valine

TUESDAY, AUGUST 16 AGNES ETHERINGTON ART CENTRE 09.00AM 10.00AM

REGISTRATION & COFFEE KEYNOTE

11.00AM

KEYNOTE

12.00PM 01.00PM

LUNCH BREAK CONVERSATIONAL PANEL

Computational Museology: Interfaces to Cultural (Big) Data Sarah Kenderdine eM+/EPFL

ULE 02.30PM

Telidon: Exhuming Canada’s Earliest Digital Art Shauna Jean Doherty independent curator

Hauntings in the Digital Sphere: Curating Collection Portals Aarati Akkapeddi interdisciplinary artist Brandie MacDonald Museum of Us Chao Tayiana Maina African Digital Heritage Museum of British Colonialism Open Restitution Africa Danuta Sierhuis & Jennifer Nicoll Agnes Etherington Art Centre

PARALLEL WORKSHOP SESSION

Manifesting Reimagined Collection Portals Danuta Sierhuis & Jennifer Nicoll Agnes Etherington Art Centre Exhibiting Net Art Michael Connor Rhizome

Collective World-Making: Envisioning Futures through Machinic Collaborations – part 02 Teodora Fartan CSNI/LSBU 04.30PM

PANEL “INSTITUTIONAL STRATEGIES”

Back to the Futures: Art and the Emergence of the Internet at the BNMI, 1995-2005 Jennifer Kennedy Queen’s University Exploring the Remastered Exhibit: a Comprehensive Look into the Aga Khan Museum’s XR Artwork Exhibition Michael Carter-Arlt Toronto Metropolitan University

WEDNESDAY, AUGUST 17

The Miniature in the Museum: Creating an Immersive Digital Experience for Netsuke at the Montréal Museum of Fine Arts Lindsay Corbett McGill University

ISABEL BADER CENTRE FOR THE PERFORMING ARTS All activities taking place at Room 222 (screening room).

09.00AM 10.00AM

REGISTRATION & COFFEE KEYNOTE

11.00AM

PANEL “COUNTER-INSTITUTIONALITIES”

The Seagull and the Taj Mahal: Exhibiting Videogame Assets as Art Objects Pippin Barr Concordia University

Virtually Exploring the Benin Bronzes Repatriation Initiative Mikayla Brown Temple University A Virtual Riot: Re-animating the 1907 Anti-Asian Riot in Vancouver Su-Anne Yeo University of British Columbia Anarchival Photogrammetry: Creative Applications and Uses of 3D Scanning in Cultural Heritage Preservation and Presentation Elina Lex Concordia University

12.30PM 01.30PM

LUNCH BREAK PANEL “VIRTUAL PRACTICES”

Navigating Research at the Museum of the Contemporary Diego Rotman The Hebrew University of Jerusalem Lea Mauas Queen’s University Mapping Cross-Dimensional Practices: Computationally-Mediated Worldmaking Teodora Sinziana Fartan CSNI/LSBU The Ant Farm Antioch Art Building in VR and IRL Catalina Alvarez, Liz Flyntz & Leander O’Connell Johnson Ant Farm Antioch Art Building Creative Preservation Initiative

03.00PM

PANEL “PLATFORMS, TOOLS, AND PARTICIPATION”

Choose Your Own Artwork: Google Arts & Culture and the DIY Museum Bethany Berard Carleton University Sarah E.K. Smith Western University Things+Time: A Virtual Artists’ Archive Ellie Décary-Chen, Lucas LaRochelle, Prakash Krishnan, Heather Mitchell Things+Time Creating Communities through Art Jung-Ah Kim, Peggy Fussell, Tia Bankosky, Prerana Das, Drew Burton, Jessa Laframboise, Anna Douglas Queen’s University

04.30PM

KEYNOTE

Digital and New Media Arts Archives – Challenges and Opportunities Sara Diamond OCAD University

KEYNOTES CINEMA OF TRANSMISSION (TALK & SCREENING) Michael Connor (Rhizome, USA) 0 This screening gathers works of net art from the 1970s through the present that can be experienced in cinematic or video form, and aims to explore the ways in which artists have sought to engage with the politics of network culture under changing telecommunications regimes. Mechanisms of circulation and distribution play a crucial role in each work, highlighting the authorial role played by network technologies and the markets they enable. COMPUTATIONAL MUSEOLOGY: INTERFACES TO CULTURAL (BIG) DATA Professor Sarah Kenderdine (eM+/ École polytechnique fédérale de Lausanne, Switzerland) 0 Computational museology is a scaffold that unites machine intelligence with data curation, ontology with visualization, and communities of publics and practitioners with embodied participation through immersive interactive interfaces. Research into computational museology at the Laboratory for Experimental Museology (eM+), EPFL reaches beyond object-oriented curation to blend experimental curatorship with contemporary aesthetics, digital humanism and emerging technologies. This lecture explores key themes in a repertoire of applied exhibition practice: including: interactive archives and emergent narrative; deep mapping and carto-criticism; deep fakes and blockchain sovereignties; embodied knowledge systems and motion as meaning. (i) Interactive Archives focuses on the positional shift occurring in museums and archives from working with object orientations delineated in documentation and high-level ontologies—to computing with dimension orientations, segmentation and analytics. Computational archives are the new terrain upon which curators will reckon with heritage materiality and calculate and define new fine-grained archival ontologies, access and narratives. (ii) Deep Mapping responds to the humanist efforts to re-conceive maps as moving, embodied, social, technical and emotive and as opportunities to present alternative visual solutions to specific problems of depicting and describing places and time. (iii) Deep Fakes examines how algorithms and computer vision re-perform and reprocess the digitally visible, exposing the optical unconscious of art calling us to re-examine, once again, objecthood itself. With its propensity for peripheral vision, machine learning has amplified the possible futures for curatorial and artistic practices. Encryption of digital counterparts in place of originals is simultaneously usurping systems and codes of ownership, custodianship, and repatriation. (iv) Embodied Knowledge Systems spotlights cultural expressions, practices, oral traditions and performances and how they are enacted, socially transmitted and intimately linked to people. Encoding acts with the “technologies of 18

corporeality” provide powerful tools to transform embodied knowledge as practice, mode of transmission and object of study. TELIDON: EXHUMING CANADA’S EARLIEST DIGITAL ART Shauna Jean Doherty (independent curator, Canada) 0 In 2018, a collection of floppy disks were discovered in the archives of InterAccess, a media art centre located in Toronto, Canada. The disks contained thousands of files created using Telidon, a uniquely Canadian technology funded by the federal government that, despite its short lifespan from 1978 to 1985, facilitated the production of the country’s earliest networked digital art. For decades, the art of Telidon was thought to be entirely lost due to the obsolescence of the hardware and software required to display it. This talk will outline the digital archeological dig that ensued after the disks’ discovery, the restoration of the artworks that they contained, and two upcoming exhibitions that will introduce Telidon art to the world. THE SEAGULL AND THE TAJ MAHAL: EXHIBITING VIDEOGAME ASSETS AS ART OBJECTS Pippin Barr (Concordia University, Canada) 0 In my presentation I will discuss the conceptualization, design, and development of my in-progress videogame v r $4.99, a virtual “art park” built in the Unity game engine that will ultimately display a collection of 88 3D objects (assets) from the Unity Asset Store. These objects include everything from a supermarket to a spaceship, from a seagull to the Taj Mahal, and every one costs US$4.99 (before tax). Indeed, I’m including two items purchased from each category and subcategory under the “3D” category in the asset store, all laid out in a virtual Sahara Desert (which also cost $4.99). My presentation will focus on the insights stimulated by creating and playing this game into the crucial virtual material of play represented by 3D models. I’ll talk about everything from the kinds of standards of comparison that we might use to judge which assets are “worth it” and which are “overpriced,” as well as more involved technical details of the curatorial and installation process (you’d be surprised how hard it can be to get a spaceship to lie down nicely on the sand). The game itself is a tool for serious thought about the art status of videogame materials, their place in the very real economies that help to build and distribute them, and the game design decisions that they inevitably influence. DIGITAL AND NEW MEDIA ARTS ARCHIVES – CHALLENGES AND OPPORTUNITIES Dr. Sara Diamond (OCAD University, Canada) 0 In recent decades there has been increased interest in the preservation of media art, new media, digital art and culture expressions, and in the preservation of historical scholarship and discourse around these practices. 19

Practices include their re-presentation in original and other forms and the creation of platforms for contemporary scholarship. These interests have resulted in the creation of media arts and new media fonds within institutional, public, as well as dedicated counter and community archives. 0 This talk discusses the role of the archive as a virtual museum and the opportunities for creative and curatorial opportunities it affords. It further considers the importance of interface design in facilitating access to digital materials and exploration. Interfaces bring together design decisions and interaction opportunities. Hannah Sistrunk (2019) expresses optimal characteristics of archival interfaces in the digital era to, “Support multiple pathways into and through description and records including people, organizations, and subjects. Support multiple modes of inquiry including machines, humans and machine-assisted humans. Encourage and reward curiosity.” This talk will consider the ways that archival interfaces have been theorized and touch on wide ranging case studies. These will include The Banff New Media Archives, the Uncover/Recover project, a collaboration between the Royal Ontario Museum (ROM) and OCAD U’s Indigenous Visual Culture (INVC); the Tangible User Interface, an affordable interface system that allows individual or collaborating users to manipulate large bodies of data and produce comparative visualizations; the Archive of Digital Art (ADA), Rhizome and Crossing Fonds, a current project that brings together VIVO (an artist-run centre) and a group of archives and artist-run centres, among other examples.

PANELS THE EXHIBITION MULTIPLE MONDAY AUG 15, 02.00PM TOTAL SCREEN: THE EXHIBITION THAT DID/DID NOT TAKE PLACE Amandine Alessandra, Carole Lévesque, Katharina Niemeyer & Magali Uhl (Université du Québec à Montréal, Canada), Marine Baudrillard (Cool Memories Association, France) There is no longer any separation. no empty space, no absence: you enter the screen and the visual image unhindered. You enter your life as you would walk through a screen. You slip on your own life like a data suit. (Jean Baudrillard, Screened Out, 2022). 0 Initiated in 2018 and finally presented for the first time in Canada at UQAM’s Centre de Design during Spring 2021, Total Screen exhibited Jean Baudrillard’s photographic work in relationship to pieces by Adam Basanta, Charlie Doyon, Clint Enns, Mishka Henner + Vaseem Bhatti, Penelope 20

Umbrico, and Xuan Ye. This presentation will focus on the different forms this curatorial project took in order to conceptually and materially address the different constraints and challenges set by the pandemic context through four major mediations: The first one was a very “real,” physical exhibition where art installations seemed to wait in quiet contemplation alongside the images of Jean Baudrillard, flanked by his aphorisms. The second one was an outdoor installation, where the exhibited pieces were revealed in their hyperreality, exacerbating their absent presence by proxy, from behind the glass of a large display window that became a metaphorical screen. The third experience was that of the reimagined exhibition, progressively and partially remediated online, via a website [ecrantotal.uqam.ca]. The fourth mediation was a VR experience. PAN-TILT-ZOOM: AN EXHIBITION FOR THE ELECTRONIC EYE Blake Fall-Conroy & Nimrod Astarhan (Art Institute of Chicago, USA) 0 The exhibition Pan-Tilt-Zoom (PTZ) took place within the Art and Technology Studies department of the Art Institute of Chicago in the spring of 2022. Using the liminal space between the physical and the digital as its point of departure, Pan-Tilt-Zoom articulated a hybrid format as its core mode of presentation. Mixing in exhibition practice, surveillance tactics, live streaming, and net-art, Pan-Tilt-Zoom comprised an online interface that controlled a security camera concealed inside an inaccessible room where 12 works were installed. The show’s format thus becomes an artwork, provoking frictions, slippages and differences between AFK and URL forms of presentation. 0 In this talk we will share PTZ’s unique approach to networked exhibition. We will discuss PTZ’s complex relationship with online exhibition-making guided by relevant questions: how does the exhibition emphasize the unique characteristics of networked presentation as a form of cultural exchange? What are its possible advantages? What limitations are imposed by the impossibility of a physical encounter with the works? Juxtaposed with other online exhibition formats, what are the implications of competition over, or sharing of perspective via, the single PTZ camera?

CURATING ACROSS MEDIA MONDAY AUG 15, 03.00PM THE MEANDER AND/AS CURATORIAL PROCESS Treva Legassie (Concordia University, Canada) 0 improvement becomes a wall, and the river meanders still… is a webbased exhibition of audio works by two emerging artists (Danica Evering, Elijah Harper) that engage with “The Narrows:” the straightened section of Wonscotonach (The Don River). This exhibition project has taken shape over the last three years through walks, conversations, a ceremony with the river and historical and archival research. While the form of this exhibition has 21

changed through the pandemic, the meander of Wonscotonach has inspired a curatorial method grounded in intuition and flow; and this new intersected curatorial method will be the focus of my paper. 0 improvement becomes… questions the early and continued role of spatial and place-based practices in the project of settler colonialism – specifically a critical re-reading of the concept of ‘improvement’ in relation to the colonial development of Land. Audio works will be presented on a website that will also act as an archive of the meandering curatorial process. Departing from a more traditional didactic curatorial form, and embracing the affordances of digital exhibition making, the online exhibition will include notes from the field, archival images and documentation of site visits over the last three years, embracing researchcreation’s valuation of process. HOUSE-STUDIO-GALLERY: PUBLISHING MOBILE STRATEGIES OF DISPLAY & MEDIATION paula roush (CSNI/London South Bank University, United Kingdom) 0 The publication HOUSE—STUDIO—GALLERY brings together zines, pamphlets, cards, newspaper works, photographic editions, found objects, that were part of research, exhibitions, performances, events in and around the four buildings that the project mobile strategies of display & mediation (msdm) has occupied since 2015. These are buildings with unique architectural features that have been converted into spaces defined by a triple purpose of “live-work-exhibit” for the past seven years. A late 19th century Industrial warehouse previously used for self-storage, a warehouse unit that had been a printer’s workshop in the 1980s, a 1940s art deco electricity showroom that had also been the UK border agency in the 1990s and, currently, a community day center with its own nursery now converted into an art publishing library. 0 This presentation will address how printed matter offers a felt sense of the links between photography, architecture, installation, studio production, and everyday living through the medium of publishing, asking the question: what are the boundaries between the spaces of life, creation, and exhibition?

TUESDAY AUG 16, 01.00PM HAUNTINGS IN THE DIGITAL SPHERE: CURATING COLLECTION PORTALS With Aarati Akkapeddi (interdisciplinary artist), Brandie MacDonald (Museum of Us), Chao Tayiana Maina (African Digital Heritage, Museum of British Colonialism, Open Restitution Africa), Danuta Sierhuis & Jennifer Nicoll (Agnes Etherington Art Centre) 0 As the Agnes Etherington Art Centre undertakes a major digitization project to digitize close to 60% of the 17,000 objects in our collection, our 22

staff are collectively thinking about the ways in which collections and their metadata are curated and how they are publicly presented through digital means. How do the online platforms and the searchable interfaces within museums obscure and belie the complexity of the histories of cultural heritage objects and their associated metadata? How are these museum collections interfaces haunted by the digital manifestations of cultural collections and restage histories of categorization, silence, erasure, and colonialism? How do we reimagine how we record and structure data about cultural collections that is more respectful and reflects multiplicity? These interfaces are only as good as the data that feeds them, so how can we reimagine curating communitydriven and decolonial digital practices that will feed and inform the design for reimagined portals for online collections in museums? 0 Activity presented in collaboration with the Agnes Etherington Art Centre / Institute for Curatorial Inquiry.

INSTITUTIONAL STRATEGIES TUESDAY AUG 16, 04.30PM BACK TO THE FUTURES: ART AND THE EMERGENCE OF THE INTERNET AT THE BNMI, 1995-2005 Jennifer Kennedy (Queen’s University, Canada) 0 To think through the questions raised by the Museum Without Walls project about what “future forms of socio-cultural institutionality [may] be found among online databases, simulated environments, social media communities, smart contracts, and other computer platforms”, this paper turns to the past. A decade before becoming the Founding Director of the New Media Institute (BNMI) at the Banff Centre for the Arts in Alberta Canada, feminist video artist, scholar and labour activist Sarah Diamond published “Whose Vision Will Rule the Future? Women, Technology, and Art” (1985), an essay that draws from the history of feminist video art to analyze how emerging communications technologies were reinforcing gender-based discrimination and to imagine how the same technologies might be harnessed to help create a more egalitarian future. Looking back, the connection that Diamond makes between technological innovation and feminist politics in this paper reads as a preface to the political program that would become a defining feature of the BNMI in the decades that followed, as dozens of artists, scholars, and activists from around the world came to Banff to explore the convergence of art and technology at the beginning of the internet age. Building on the radical experiments with digital media that early cyberfeminist artists such as Nell Tenhaaf and Catherine Richards had been leading at the Banff Centre since the late-1980s, many of the BNMI’s programs were frameworks for testing the possibilities and risks of linking art and technology for the purposes of social critique and change. Through specific case studies, this paper considers the visions of the future that emerged at the BNMI between 1995 and 2005 and what we might still learn from them today. 23

EXPLORING THE REMASTERED EXHIBIT: A COMPREHENSIVE LOOK INTO THE AGA KHAN MUSEUM’S XR ARTWORK EXHIBITION Michael Carter-Arlt (Toronto Metropolitan University, Canada) 0 The Aga Khan Museum was one of many museums negatively impacted by the COVID-19 pandemic, which forced them to shut their doors and pivot their programming for the next two years. Their response to COVID-19 involved the launch of the “Remastered Exhibit”, which focused on displaying the museum’s world-class collection of Persian, Turkish, and Mughal Indian manuscript paintings through various lenses of XR (Extended Reality) technologies. This presentation will focus on the work that went into the Remastered Exhibit, and demonstrate how museums can combine XR technology with their existing collections for greater accessibility and a higher degree of learning. 0 The Remastered Exhibit [agakhanmuseum.org/ exhibitions/remastered] consisted of four digital interventions that were distributed amongst 40 artworks. These interventions included 3D holographic visualizations, 2D animations, digital restoration, and interactive digital artworks. Each digital alteration was designed with the consideration of touchless interaction in mind, allowing visitors of the museum to engage with the materials without having to physically touch anything in the museum. Each digital intervention provided an alternative way of increasing our understanding of the corresponding artwork. This was also done by reducing the amount of written content to allow for a more engaging experience with each artwork. THE MINIATURE IN THE MUSEUM: CREATING AN IMMERSIVE DIGITAL EXPERIENCE FOR NETSUKE AT THE MONTRÉAL MUSEUM OF FINE ARTS Lindsay Corbett (McGill University, Canada) 0 A recent digital initiative at the Montréal Museum of Fine Arts (MMFA) has sought to address limitations surrounding the display of miniature objects in the museum. The development of a web application integrating responsive technologies such as image recognition software and threedimensional photogrammetry allows for viewers to engage with miniatures in closer detail and even “handle” the objects. This paper will examine the first iteration of this project, which highlights the MMFA’s collection of Japanese netsuke –small ivory sculptures originally used to suspend bags from the belt of a kimono during the Edo period (1603-1867). It will explore how the use of responsive interfaces illuminates important qualities of netsuke such as their tactility, materiality, and fine craftsmanship. The paper will also consider further possibilities for the integration of digital interfaces in museum environments to help animate its tiniest objects.

COUNTER-INSTITUTIONALITIES WEDNESDAY AUG 17, 11.00AM VIRTUALLY EXPLORING THE BENIN BRONZES REPATRIATION INITIATIVE Mikayla Brown (Temple University, USA) 0 Museums have been forced to grapple with and confront how their histories are intertwine with racism, colonialism, and slavery. The reckoning that museums are undergoing is paired with a rapidly accumulating Benin Bronzes repatriation initiative. In light of the global COVID-19 pandemic, museums were forced to pivot from the physical to the virtual. By conveying multiple forms of expression to a wide set of viewers beyond the institutions’ walls, websites offer a virtual platform to counter stereotypes, false histories, erasure, and colonial blind spots, all of which are pervasive in museums. Offering visitors the chance to engage with art and artifacts from distant lands, museums’ websites must be intuitive to use, accessible, and encourage cultural and historical negotiations, comprehension, and engagement virtually. Exploring textual and visual portrayal on websites is important to better understand the relationship between museums as cultural assemblages, curators of art and history, and the growing importance of the virtual to museums’ audiences. My research will analyze how museums frame and construct the narrative around the Benin Bronzes repatriation initiative on their web pages that feature content related to the Benin Bronzes and the repatriation initiative. A VIRTUAL RIOT: RE-ANIMATING THE 1907 ANTI-ASIAN RIOT IN VANCOUVER Su-Anne Yeo (University of British Columbia, Canada) 0 This talk analyzes the case study of 360 Riot Walk, an in-person and online walking tour of the route of the anti-Asian Riot which took place in Vancouver in 1907. During the riot, a mob comprised of members of the Asiatic Exclusion League rampaged through the city’s Chinatown and “Japantown” neighbourhoods, damaging property and terrorizing residents. The riot was a landmark event in Vancouver’s history yet continues to be overlooked or marginalized in official accounts of the city’s past. Like many other activities during the pandemic, 360 Riot Walk ceased its face-to-face walking tours in the spring of 2020 in order to comply with public health orders. However, unlike other museums and galleries, the tour’s use of mobile media and immersive technology, specifically 360 video, made it possible for would-be participants with the requisite equipment to continue to “walk-the-walk” inperson and engage with this particular example of “history from below” on an individual basis. 360 Riot Walk thus raises questions about the more complex practices of cultural consumption which are both geographically-distant and mediated, and site-specific and embodied. Among other questions, it queries 25

whether this mixed mode of consumption necessarily produces a subjectivity which is more critical and reflexive. ANARCHIVAL PHOTOGRAMMETRY: CREATIVE APPLICATIONS OF 3D SCANNING IN CULTURAL HERITAGE PRESERVATION AND PRESENTATION Elina Lex (Concordia University, Canada) 0 This project looks at the histories, uses, and practices of photogrammetry and 3D scanning methods in cultural heritage preservation and presentation practices. New representations of archival artefacts, architecture, archaeology, and heritage sites enabled by digital scanning, photogrammetry, and freely available 3D software are beginning to open up. This project explores how these digital technologies have facilitated creative forms of archival engagement, further democratised access to heritage collections, and engaged users with new forms of knowledge creation with heritage data. From Nadine Valcin’s photogrammetric VR experience Our Home and Haunted Land uncovering hidden layers of Black and Indigenous histories in Toronto’s urban landscape, to creative archival remix practices through digital scanning of artefacts in The (Im)material Artefact project at the National Museum of Cardiff, more radical and creative methodologies of photogrammetric capture for presenting historical narratives have been applied. The presentation will conclude with a demonstration of a series of photogrammetric experiments I have conducted, exploring creative approaches for using 3D digital scanning for heritage presentation practices.

VIRTUAL PRACTICES WEDNESDAY AUG 17, 01.30PM NAVIGATING RESEARCH AT THE MUSEUM OF THE CONTEMPORARY Dr. Diego Rotman (The Hebrew University of Jerusalem, Israel), Lea Mauas (Queen’s University, Canada) 0 The Museum of the Contemporary (MOFC) is a critical museological project initiated by the Sala-manca Group in Jerusalem as a conceptual, physical and temporary structure that performs a rhizomatic and decentralized idea of a “museum”. The MOFC is temporary, mobile, dynamic and normally contained by other institutions or structures at the same time that it becomes in itself an art container. The MOFC can be considered to be a para-museum “that deals and challenges the inner power of the museum as an institution.” During the COVID-19 pandemic the MOFC staged the exhibition “Permanent Residency.” The show dealt with the acquisition, dismantling, assembling, and transport of various temporary structures, the creation of unauthorized replicas, and the temporary relocation of homes. The exhibition was photographed and digitized in order to allow, in case of closure during COVID-19 restrictions, a virtual tour to local and international 26

visitors. The exhibition continued to be open for most of the pandemic and the virtual scenario of the museum became archived. This paper deals with a new project that approaches the archived virtual exhibition, not as representation or document of the “Permanent Residency” show, but as a research territory. MAPPING CROSS-DIMENSIONAL PRACTICES: COMPUTATIONALLY-MEDIATED WORLDMAKING Teodora Sinziana Fartan (CSNI/London South Bank University, United Kingdom) 0 This paper proposes the concept of “cross-dimensional practices” as a mode of conceptualising those artistic processes concerned with the production of worlds that intersect simulated space, fictive narratives and imagined bodies. By examining the underlying processes involved in the creation of these speculative, immersive and interactive worlds, as well as their substratal systems of exchange and representational qualities as hybrids of image, space and materiality, this paper aims to situate the emerging practice of the artist as maker of worlds, whilst tracing the ways in which immersive networked systems can give rise to new modes of affective experience. With particular attention to the web of relations forming between audience and world via computationally-mediated interfaces, the phenomenological possibilities that worldmaking affords are probed through an understanding of their multi-layered participatory affordances. Through an analysis of the modes of interfacing with virtual worlds and the situatedness of the participant within the imaginary structure of a number of contemporary case studies, this exploration will decipher how imagination, technology and ecology intertwine within worldmaking practices. AFAAB IN VR AND IRL Catalina Alvarez, Liz Flyntz & Leander O’Connell Johnson (Ant Farm Antioch Art Building Creative Preservation Initiative, USA) 0 The Ant Farm Antioch Art Building Creative Preservation Initiative is a creative collaboration to preserve both the history and the spirit of the Antioch College Art Building, designed by Ant Farm in 1971 and abandoned by the college in 2008. As artists and curators the AFAAB collective uses the building as a lens through which to peer into a past moment of radical design and pedagogical history while simultaneously projecting images of possible futures and adaptations of the space. 0 Collaboratively, the group has successfully listed the building on the US National Historic Register, developed a VR version of the space in Mozilla Hubs, engaged with media art students at the college to produce several exhibitions occurring simultaneously in the virtual and real space of the buildings, and created a documentary about the space and its construction. Currently the group is engaged in developing a sensor-data based sound piece using the building’s ambient sound. 0 Over the summer 2021, the VR version of the Ant Farm Antioch Art Building [hubs.mozilla.com/TGQ5vJ8] 27

was open for exploration, performance, and conversation. While inside, visitors encountered an exhibition of distressed archives, speculative architecture, utopian musings, and a recursive video portal to the real art building.

PLATFORMS, TOOLS, AND PARTICIPATION WEDNESDAY AUG 17, 03.00PM CHOOSE YOUR OWN ARTWORK: GOOGLE ARTS & CULTURE AND THE DIY MUSEUM Bethany Berard (Carleton University, Canada), Sarah E.K. Smith (Western University, Canada) 0 Our paper examines Google Arts & Culture (GAC) to assess the relationship between museums and digital platforms. Developed to increase accessibility of artwork, GAC currently features hundreds of collaborations with partners across eighty nations. Beyond conventional offerings including databases of cultural objects, the platform includes interactive components such as puzzles, crosswords, and colouring books, and encourages users to assemble personal collections and curate virtual exhibitions. These features demonstrate GAC’s emphasis on user-directed engagement, where users are configured as cultural producers (artists and curators), as well as embodied spectators. GAC also includes a “nearby” feature where users can locate physical museums, as well as the option to virtually tour select partner institutions, or “Zoom in” to a museum to view select artworks in their current exhibition or gallery setting. Employing the walkthrough method, we provide critical analysis of the current iteration of the GAC platform. Through this analysis we respond to the conference call to explore new configurations for art and cultural institutions where GAC both provides space for users to build a custom museum without physical walls, while still locating cultural products in physical space and highlighting and encouraging engagement with the traditional museum. THINGS+TIME: A VIRTUAL ARTISTS’ ARCHIVE Ellie Décary-Chen, Lucas LaRochelle, Prakash Krishnan & Heather Mitchell (Things+Time, Canada) 0 Stemming from observations of cultural loss during the time of the COVID-19 pandemic including the passing of loved ones and elders, the closing of historic neighbourhood shops and restaurants, and the suppression of culture following the rise in anti-Indigenous, anti-Black, and anti-Asian racism, Things+Time emerged as a care-based artistic response to these losses. The Things+Time project, at its core, seeks to respond to loss through three main domains of action: 1) creation of a virtual exhibition space to display “lost” objects; 2) formation of community networks for artistic and archival co-creation; 3) development of open-source, educational tools and platforms for wider community use 28

for various digital archiving and documentation needs. The Things+Time team is developing a methodology and prototype for an open-source exhibition and archival platform. A cohort of 10 artists from Montreal and Toronto will be invited to a micro residency program to populate the first iteration of the exhibition with their own materials representing loss which will be digitized into 2D and 3D assets and be given archival descriptions. This methodological approach seeks to find ways to create an internally managed virtual exhibition that divests from reliance on tech giants, including the creation of a private server and utilizing open-source tools such as the Smithsonian Voyager. CREATING COMMUNITIES THROUGH ART Jung-Ah Kim, Peggy Fussell, Tia Bankosky, Prerana Das, Drew Burton, Jessa Laframboise & Anna Douglas (Queen’s University, Canada) 0 Creating Communities Through Art explores community-led artistic production and education as forms of social engagement and worldmaking outside of the institutional context in Katarokwi/Kingston. The project includes case studies of arts-based learning, expanding the definition of art to include gardening, Little Free Libraries, community-based art collectives, etc. The product of this research will be presented in a hybrid exhibition both at the Union Gallery and at a designated space at the Tett Centre in August 2022. Among other exhibits, we will showcase a “community connections/ web board” that grows over time. 0 These contributions include ephemera and grey matter, such as maps, diagrams, posters, flyers, etc. that are selfpublished by the communities. It also includes QR codes that connect to the community websites, snippets of our oral interviews, video clips, etc. Community members will be invited to mark connections, their memories, and notes using various craft materials. During the MWW conference, we would like to invite the conference participants to the Union Gallery for a tour of our exhibition, in addition to a presentation of our findings. We invite the attendees to explore the gallery and reflect on new forms of engagement to continue building community connections beyond the gallery walls.

WORKSHOPS HOW TO WRITE A 100-YEAR PLAN George Oates (Flickr Foundation) 0 We are in the very early stages of creating a new institution, the Flickr Foundation, to preserve and display the huge Flickr photography collection for generations to come. Part of our framing to establish the organization 29

is the idea of making a 100-year plan, a living document to guide priorities and decisions, and be maintained by the community of the Flickr Foundation for years to come. 0 We are running a series of workshops in different spaces with different audiences to discuss and develop what a plan with this long-term outlook should contain, and what it could exclude. We are exploring ideas around what a co-operative social structure around the Foundation could be like, what it should be responsible for, and how it would relate to the corporation which owns the codebase that runs Flickr and is responsible for its performance. There are a ton of questions to explore, and we would love to know what the Museums Without Walls community thinks! 0 Please join the session to explore and discuss issues around the organization itself and the people who manage it, and how it might approach measuring effectiveness and looking ahead over several generations. We would also welcome discussion of other organizations or contexts for a long term plan like this, if the group would like to go that way. REPRESENTING THE AESTHETICS OF THE ECOLOGICAL Luisa Ji & Jerrold McGrath (UKAI Projects) 0 UKAI Project’s approach to ecological aesthetics is consistently and explicitly polyphonic and we convene artists, community members, researchers, and others to participate in collective investigation of broad questions. This workshop presents the current state of a digital platform and database to digitally disseminate multiple artistic perspectives as a collective assemblage that facilitates a “call and response” approach to engaging with art and the issues they describe. 0 This workshop will share New Not Normal, a webpage that was developed quickly but has been effective in creating dialogic activities of sense-making, a sharp contrast from the often-polarized discussion on social media platforms. We are seeking ways for viewers to have control over how artistic works and other evidence, ideas, and expressions are organized and then invite others to participate in their viewpoint. Artistic ways of knowing are often marginalized when discussing crises. We are advocating for artistic ways of knowing at the centre of the interpretive process, contributing both artistic responses AND a framework of representation that allows for audiences to see multiple viewpoints in relation to each other, rather than as distinct events participating in ideological battles. COLLECTIVE WORLD-MAKING: ENVISIONING FUTURES THROUGH MACHINIC COLLABORATIONS Teodora Sinziana Fartan (CSNI/London South Bank University) 0 This workshop aims to introduce participants to techniques that can lay the groundwork for world-making as an artistic process. The first part of 30

the workshop introduces the key terms and concepts our exploration will depart from, as well as an overview of the technologies that will be used collaboratively during the workshop. We will address the conceptualisation processes of computational environments and potential ideation methods leading up to the birth of a new world instance through co-authorship with algorithms. The second segment will invite participants to abandon habitual temporalities and shift towards a generative process of collective and participatory world-making. We will aim to collaborate with algorithms in order to produce a piece of fictional generative text that offers a glimpse into an alternative mode of existence. Once our world instance has materialized as a textual concept, we will work towards shaping an immersive web space and jointly populating it with open-source 3D objects in order to create a multidimensional sketch of our conceptual world. The workshop aims to stimulate reflection around not only the unfinished world of futures before us, but also presents and pasts behind us through an exploration of collective worlding. EXHIBITING NET ART Michael Connor (Rhizome) 0 This workshop for curators and other art professionals will explore key concepts and strategies for presenting net art and other born-digital work in gallery- and web-based exhibitions. The workshop will unpack the utility (and limits) of applying performance metaphors to networked art, elaborate on curatorial and technical strategies such as defining object boundaries and establishing mise-en-scène, and cover approaches to working with live and archival works. MANIFESTING REIMAGINED COLLECTION PORTALS Danuta Sierhuis & Jennifer Nicoll (Agnes Etherington Art Centre) 0 Participants will engage with each other through activities and will brainstorm how to reimagine new online portals/interfaces for museum collections and what needs to happen to make them a reality. Using design thinking questions and a Mural whiteboard, the resulting discussions will be documented and turned into a living manifesto for new futures for the digital presence of online collections that will be shared publicly. The workshop will also inform Agnes Etherington Art Centre’s ongoing digitization projects and upcoming plans for My AGNES, a community-centric platform and online collections portal. 0 Activity presented in collaboration with the Agnes Etherington Art Centre / Institute for Curatorial Inquiry.

EXHIBITION

The building may be the most public aspect of any museum. An exhibition, however, is where the museum is most exposed. Literally: taken out of their vaults and staged for an audience, pieces of the collection become exposed to the elements, to wider fluctuations in humidity and temperature, to wear and tear at every translation. Metaphorically: whatever the chosen theme, approach, or roster of artists, it will become an object of much closer scrutiny than the institution’s board of directors or the interests of its corporate sponsors could ever be. Museums mean to probe the world in its full extension, sliding into its every crevice. An exhibition is one of the few opportunities the world is given to probe back. Every interpretation a museum provides of the world is likewise an image of the museum as an interpreter. While making things a bit more common, exhibitions make the institution a bit more evident. It comes as no surprise for a show within MUSEUMS WITHOUT WALLS to reflect these issues. By exercising the portability afforded by simulations, films, databases, publications, and other means of exchange, the conference aspires to fold the museum unto itself. The different projects it features offer multiple ways of sharing and understanding independent of any specific display arrangement. Figures of institutions – an exhibition of exhibitions of sorts. Some of these projects elude the immediate gaze and ask visitors to get further inside, into particular planes of experience – to browse, to play, to record testimonials. Others spill out of Queen’s Art and Media Lab modest gallery and spread: into the pages of this catalog; across the coordinates of the city of Kingston; over the façade of the Agnes Etherington Art Centre; or wherever we want to take, keep, or attach them. A museum without walls might as well be the museum as a fractal, with other, larger museums in every crease, each hosting exhibitions of their own. Such an institution, should it exist, would do a very poor job at containing its objects while keeping the world outside. What it loses in curatorial cohesion, it gains in contact surface instead.

GROSSE FATIGUE Camille Henrot, 2013 Video (color, sound), 13 min Original music by Joakim Voice by Akwetey Orraca-Tetteh Text written in collaboration with Jacob Bromberg Producer kamel mennour, Paris with the additional support of Fonds de dotation Famille Moulin, Paris Production Silex Films 0 Silver Lion – 55th Venice Biennale 2013 0 Project conducted as part of the Smithsonian Artist Research Fellowship Program, Washington, D.C. Special thanks to the Smithsonian Archives of American Art, the Smithsonian National Museum of Natural History, and the Smithsonian National Air and Space Museum 0 © ADAGP Camille Henrot 0 Courtesy the artist, Silex Films and kamel mennour, Paris. Work presented on Monday, August 15, at 1.30PM, at the Isabel Bader Centre screening room.

ARTIFICIAL MUSEUM SystemKollectiv, 2020The Artificial Museum’s cultural mission is to create, procure, research, disseminate and preserve (digital) art. The museum upholds a literal definition of “common property” and seeks to transform public space into a carrier of art, which in exchange becomes an integral part of the cityscape. This is made possible by a web-based augmented reality application, which can be accessed online. During Museums Without Walls, the Artificial Museum is augmenting the public space of Kingston with artifacts by the following artists: Simone Carneiro (Beyond Utopia?), Libby Hague (Wild Things), Tina Kult (When the cold stone breaks open we come out), Selina Nowak (The Wound), Madi Piller (The (Other) Cat’s Eye Marble), Verena Tscherner (Stadt, Land, Fluss... Wald III), Peter Várnai (Exponential Sharks), Felix Helmut Wagner (Is this heaven?), Markus Wintersberger (XARS Hyperobject), and Nadine Valcin (Still Life). The work of Libby Hague, Nadine Valcin and Madi Piller was produced in partnership with PIX FILM Collective. Supported by The Petman Foundation and Ontario Arts Council. To visit the exhibition, access artificialmuseum.com/kingston on your mobile device. Check work locations on the map on the internal front cover.

PLACE IN TIME 3: AE Ana Valine, 2022 Hand processing celluloid film with plants is referred to as eco-processing. Here, artist Ana Valine will select specific plants around the Agnes Etherington Art Centre, both the original house and the current gallery, to process a roll of 16mm film on August 11, 2022. The filming will document the gallery extension as it exists today, and the image that emerges in the frame will be made with the plants that surround the building. This filmmaking involves matter present within the frame to develop the image: a kind of self-portrait of the Agnes, by the Agnes. This method of filmmaking with natural elements is unpredictable as each plant has its own combination of properties that affect the emulsion, sometimes resulting in no image at all. After developing in the plant brew, the film is immersed in a saltwater fixative for three days. Valine’s method of making films uses no chemicals and she has recently been brewing the developer at the same site as filming, making her method completely self-reliant and portable. Should an image of The Agnes emerge, it will be projected on the side of the gallery during the opening of Museums Without Walls. Projection performance presented on Monday, August 15, at 7PM, at the façade of the Agnes Etherington Art Centre, during the joint opening of the Museums Without Walls conference and the Institute for Curatorial Inquiry.

ÉCRAN TOTAL - TOTAL SCREEN 2021-22 Écran Total - Total Screen is the virtual reality mediation of an exhibition that features Jean Baudrillard’s photographs in conversation with pieces by other artists. The show was presented for the first time in Canada at the Université de Québec à Montréal’s Centre de Design, and also virtually invited to the Biennale Architettura in 2021 by Arts-Letters-Numbers. The omnipresence of screens in our daily lives is questioned to reveal the topical and critical—even subversive—potential of Baudrillard’s thought, as well as its interpretation and appropriation by several generations of artists and designers on the international scene. At a time when the explosive evolution of our visual practices relays the major transformation of our relationship to images, this exhibition explores the screen as an interface for virality, simulation, surveillance, and implosion—concepts developed by Baudrillard and reimagined by the works of the artists and designers on display.

Venue Centre de design de l’UQAM Dates of the physical exhibition in Montreal 2021/05/192021/06/20 Artists Adam Basanta, Charlie Doyon, Clint Enns, Mishka Henner + Vaseem Bhatti, Penelope Umbrico, and Xuan Ye Curators Amandine Alessandra, Marine Baudrillard, Carole Lévesque, Katharina Niemeyer, and Magali Uhl Artistic and scientific coordination Sonia Trépanier and Ola Siebert Website Martin Archambault Virtual Reality team ARCHIV VR (Mathieu Troussel and Charles Richard) Credits CRSH/SSHRC, UQAM|Centre de design, CELAT, Association Cool Memories, CRICIS, MAST, MP Repro, V2com - Biennale Architettura 2021, Arts-Letters-Numbers.

ecrantotal.uqam.ca 39

MUSEUM OF OTHER REALITIES 2019The Museum of Other Realities (MOR) is an immersive multiplayer art showcase in virtual reality. It contains a growing collection of interactive art and experimentation, covering everything from 3D paintings to fully-fledged narrative experiences. MOR believes that VR is still in its infancy as a creative tool and yet artists are already breaking new ground and creating amazing work with it. The same “newness” that gives artists the opportunity to experiment, however, also means that it can be difficult for them to get their work seen by a wider audience as intended. MOR was created as a way to address this. MOR makes use of the plastic possibilities of VR to provide a unique visiting experience, allowing the audience not only to teleport and float around (as is customary in such environments) but also to change the shape and size of their avatars and explore artworks in different scales. museumor.com

GALLERY 404 David Schmudde, 2020Digital artifacts are trivial to copy but difficult to preserve. Gallery 404 highlights over twenty years of misplaced and broken digitally-native works of art from the net.art movement, which embodies the output of a generation of web pioneers. Much of it has already been lost to time. Gallery 404 responds to this loss of culture by displaying the work as it naturally appears on today’s world wide web. The pieces feature missing plugins, broken links, fatal errors, mismanaged URLs, API issues, and incompatible stylesheets. Digital rot is foregrounded in an emphatic statement on the value of culture in cyberspace. netart.today

THE BROKEN TIMELINE Annet Dekker, Marialaura Ghidini & Gaia Tedone, 2021 The Broken Timeline (TBT) presents historical exhibition projects that were curated online. Inevitably partial and subjective, TBT burrows back in time to present a lineage of web-based curatorial projects that are too often unseen, neglected or ignored by the mainstream art worlds and their discourses. This version, made for distant.gallery, features some of the curators’ favourite projects that highlight the intricate socio-technicalities of the web. Following and subverting technical trends, and despite being often short-lived and thus lacking a historical memory, these projects present new ways of audience engagement, question the value of authorship and open the possibility to reconfigure traditional models and methods for presenting, accessing and distributing art. They challenge established museum values and advance alternative ways of understanding art stewardship, curatorial authority, and public access. Participating initiatives TAGallery (by Sabine Hochrieser, Michael Kargl, Franz Thalmair), CuratingYoutTube/Gridr (by Sakrowski), Field Broadcast (by Rebecca Birch and Rob Smith), ScreenSaverGallery (by Mary Meixner), The Widget Art Gallery (by Chiara Passa), Beautiful Interfaces (by Miyö Van Stenis), Exhibition Kickstarter (by Krystal South), Greencube Gallery/Gallery.Delivery (by Guido Segni and Matìas Ezequiel Reyes: Sebastian Schmieg and Silvio Lorusso), #exstrange (by Marialaura Ghidini and Rebekah Modrak), The Recombinants (by Martine Neddam, Emmanuel Guez and Zombectro), FitArt (by Nina Roehrs & Damjanski).

distant.gallery/the-broken-timeline

CORDIAIS Mari Nagem, 2022 Cordiais is an online database that correlates historical paintings that depict Brazilian women with the results of a facial recognition algorithm that measures these characters’ happiness, surprise, sadness, disgust, anger, and fear. This quantitative data is transformed into rectangles whose areas represent the amount of each emotion relative to the size of the original work, leading to a form of color-blocks abstract paintings-data-visualization. This irreverent process responds to the desire of rendering the digital body and the underlying mechanisms of power and representation, inherent to late surveillance capitalism, in more tangible forms. Studies for a Happy Nude represents the first measurements of “happiness” of the painting Estudo de Nu (Dario Villares Barbosa, 1905) that is part of the Cordiais database. According to the algorithm employed, this woman is 8% happy. This project won the 2021 Marcantonio Vilaça Award from the Brazilian National Foundation for the Arts. It was developed in partnership with Thiago Hersan.

cordiais.marinagem.com

COUNTERPUBLIC EPISODES Diogo de Moraes Silva, 2014“Unforeseen situations” is the term by which Diogo de Moraes Silva refers to this work in progress, a series of reports combined with drawings, presented on flyers to be taken by the public. In these episodes, the artist highlights situations of disturbance in the reception of artworks in different contexts or historical moments. Silva is interested in cases where there is a breach of contract, and audiences evade behaviors considered appropriate, complexifying the event of art reception. The term “counterpublics” appears in writings that neither begin nor end in this work; writings that extend to a theoretical field within which Silva’s artistic and academic research is situated. These counterpublics are ultimately associated, by several authors, with progressive characteristics, which the artist’s analysis, made in collaboration with Cayo Honorato, seeks to refute. In the counterpublics’ opposition to a dominant public, it would be possible to visualize a heterogeneity of agendas, united not necessarily by closeness of identity, but rather by a specific kind of performativity. As Silva and Honorato point out, “we are referring to the possibility that counterpublics perform attitudes, discourses, and expressions that are decidedly foreign to those esteemed by artists, curators, educators, etc.” (Charlene Cabral)

THE ZIUM GALLERY The Zium Society, 2022 The Zium Gallery is an art gallery presented genuinely as a collection of artwork in an explorable location; however, it is also a video game, playable on a computer. It is the third entry in the Zium series by developer, founder, and curator of the project Michael Berto. The gallery is filled with artwork and installations from artists around the world, working in various mediums and styles, all in one downloadable piece of software. Featured artists: Freya Berkhout, Michael Berto, Bob Bicknell-Knight, Pol Clarissou, Joost Eggermont, Evangeline Gallagher, Julián Palacios Gechtman, Cat Graffam, Freya Holmér, Matthew Keff, Most Ancient, Julia Kim, GP Lackey, LaumeB, Eric Lefaure, Niki Long, Titouan Millet, Muuutsch, Cameron Nelson, Seth Redd, Skinless Lizard, Phoebe Shalloway, Quinn Spence and Richard Walsh. Created, curated and developed by Michael Berto Modular gallery pieces Quinn Spence UI art Most Ancient First-person Exploration kit Richard Walsh Generative audio system “AudioLoom” Michael Berto, Titouan Millet. Additional programming support Julián Palacios Gechtman, Joost Eggermont, Titouan Millet, Richard Walsh.

theziumsociety.itch.io/the-zium-gallery

MUSEUM OF MEDIOCRE APPROPRIATIONS Michael Luo, 2021 Xanadu Gallery, hosted by the Museum of Mediocre Appropriations, is a limbo gallery operating at the intersection of physical and digital arts. And of course, they’ve started exhibiting and selling NFTs. The deceased game artist and game maker 7byte follows a financial farmer and his kid through the mysterious gallery that’s everywhere and nowhere. The gallery is hosting 7byte’s first-ever solo show, featuring 30 unique artworks. The topic of appropriation and approximation between game and art is an old one. The purpose of this work – yet another gallery gamespace – is to examine the ongoing pandemic of NFTs and Play-2-Earn from the perspective of the author as a game maker and an art worker. It is a digital gallery filled with diary entries and niche appropriations of famous game arts done poorly. It is quite difficult to be a media artist, let alone a game artist in this crypto-hyped environment, at least if you are trying to stay relatively sane. nil-knight.itch.io/moma

HOUSE-STUDIO-GALLERY paula roush & msdm, 2015The House-Studio-Gallery publication brings together zines, pamphlets, cards, newspaper works, photographic editions, and found objects that were part of the research, exhibitions, performances, events in and around the four buildings that the mobile strategies of display and mediation project has occupied since 2015. These buildings, with unique architectural features, have been converted into spaces defined by the triple purpose of “live-work-exhibit” for the past seven years: a late 19th century Industrial warehouse previously used for self-storage; a warehouse unit that had been a printer’s workshop in the 1980s; a 1940s art deco electricity showroom that had also been the UK border agency in the 1990s; and, currently, a community day center with its own nursery now converted into an art publishing library. The printed matter relies on collaborations with other artists on site, influenced by the studio’s materials. The publication includes “The Expanded Practice of the Artist’s Book: Immersion in the Artist’s Museum,” an essay by Francisco Varela that adds a parallel entry point into the project through an analysis of the live-work-curation method, which is identified in relation to various museological frameworks.

E.C.O. THE MEMORY OF OBJECTS Magdalena Isaacson L. & Luis Navarro F., 2019-

Expansions of Chile’s popular uprising from October 17, 2019 For months we have lived a popular struggle that has marked a before and an after in our lives. We have taken part in the social unrest of October 2019 in Chile, moved by the strength of affective politics. After more than 30 years of indifference, our country could no longer resist. We have met passionate people, participated in territorial assemblies, made records, and collected hundreds of objects, debris, and fragments from the Plaza de la Dignidad and its surroundings. Soon, under the isolation imposed by the pandemic, we have discovered that these objects are the talismans of the movement and represent for us the spirit and the mobilizing alchemy that we achieve when we gather, organize, and create with conviction. E.C.O. – estremecimiento colectivo oculto, or “hidden collective shudder” – was created as an itinerant mail work that seeks to expand the experience of Chile’s social outbreak by the means of The Migrating Objects, which travel to interact with different countries, cities, and communities. This collective device and archive is an invitation to establish dialogue around all uprisings in all their dimensions, turning E.C.O. into a repository of utopias. At the moment, there are seven E.C.O. packages circulating across different cities in the world: Berlín, Montevideo, Valparaíso, Nueva York, Pozo Almonte, Xalapa and Kingston. These packages have been sent to a chain of custodians who decide on forms of direct action with the work in their own contexts. Once the action is finished, the custodian must pass the assignment to another person, who will continue the fabric of the work. It moves us to imagine this itinerant work as a rite of union that resignifies all participants as a community beyond borders, evoking new forms of communication and their transformative power in times of fragmentation and planetary crisis. We believe it is essential to participate in changing the global social model, in regenerating the collective social fabric, in E.C.O.creating new languages and integrating ancient knowledge within the diversity of our times. e-c-o.org

STICK.T.ME Zentrum für Netkunst, 2019Digital networks have renewed the appeal of stickers as collection items, while enhancing their value for interpersonal communication and disrupting the logic of authorship. The stick.t.me project commissions sticker sets created by artists during a period of online residency. The stickers are meant to be used in the social media Telegram and to be printed as self-adhesive sheets. The sticker album can be made into a remix gallery of collectible items of the user’s choice and a place for exchange that reflects the internet and its culture. In the first edition of the project in 2019, 19 Europe-based artists and collectives were invited to produce series that reflected on everything from algorithmic structures to internet folklores. For this special edition for Museums Without Walls, the Mexican group TLC - Tráfico Libre de Conocimientos was invited to produce a series that represented the work they develop with communities that explores “diverse ways of inhabiting and relating through play, critical thinking, and collective learning.” YOUR TURN TLC - Tráfico Libre de Conocimientos, 2017 These images are part of a graphic series made for Su Turno (Your Turn), a tool to imagine games that create tension and make clearer the power relations between participants. The rules are simple: choose an image from the series and then design a game based on it, keeping in mind that there are never completely horizontal situations. The work is included in this publication as a separate sticker sheet.

ON-LINE

All online activities take place at 2PM EST. Videos of the seminar talks available in advance at youtube.com/museusemparedes.

JUL 28

WORKSHOP

AUG 25

PANEL

SEP 01

PANEL “MATERIALS OF MEMORY”

Dis/embodied Audiovisual Collage Daniel Lichtman Stockton University

Para-Academia, Post-Disciplinary Communities, and Networked Scholarship Mohammad Salemy The New Centre for Research and Practice Abbey Pusz & Margo Bergamini Do Not Research

Faces, Places: Constructing the site of memory through transmedia exhibitions Yi Song University of Cambridge The Expanded Gallery Experience: Documentation and Simulated Presence in Olafur Eliasson’s “Your uncertain archive” Olivia Eriksson Stockholm University Playing the Past: Using WebXR to rebuild the Lost City Emily Godden Anglia Ruskin University

Accessing the Antarctic through Storytelling and Immersive Technologies Lesley Johnston Anglia Ruskin University SEP 08

PANEL “INSTITUTIONAL LEAKS”

Fictive Museums: Artist as Institution Antoinette LaFarge University of California Irvine

LINE

Museums on the Web: Exploring the Past for the Future Karin de Wild Leiden University Nadezhda Povroznik Perm State University

SCHED SEP 15

A Palace, a Street Router and a Digital Art Museum: on the Palais des Beaux Arts Wien Lia Carreira Southampton University Corporate Prudishness and its Challenges on Alternative and Minority Culture Virtual Exhibitions Rene G. Cepeda UNARTE

PANEL “SITES OF EXHIBITION”

Galleries in Simulated Virtual Environments: The Case of Ars Virtua Laura Cocciolillo Ca’ Foscari University Art Curating and Aesthetics in the Metaverse: An Essay About Art Exhibitions on Virtual Platforms Daniel Hora, Karyne Berger Miertschink & Larissa Pereira Federal University of Espírito Santo Youseum: Museum as Infrastructural Mashup: The Sponsored Crisis of Materiality Roselinde Bon University of Amsterdam Reconfiguring a Physical VR Exhibition into an Online Virtual Exhibition Due to the COVID-19 Pandemic Sojung Bahng Queen’s University Vincent Dziekan & Jon McCormack Monash University

SEP 22

PANEL “PERFORMING COLLECTIONS”

A Museum for Contemplation: A Comparative Study between Imagine Monet and the Musee L’Orangerie Water Lilies Ashley Lanni University of Toronto The Digitalization in Museums in Vietnam: A Case Study at the Vietnam Fine Arts Museum Dr. Le Thu Mach Ho Chi Minh National Academy of Politics Nguyen Thi Bao Ngoc Vietnam Fine Arts Museum

ULE

Digitalising Community Engagement and Co-curation of Local Design Culture Hoyee Tse Royal College of Art Recruiting Collective Intelligence to Level Art World Stratification: A Potential Impact of Virtual Museums of Contemporary Art Stéphanie Bertrand Concordia University, ICS-FORTH

SEP 29

PANEL

Virtual Galleries, Actual Institutions Robin Stethem Museum of Other Realities Lívia Nolasco-Rózsás Beyond Matter/ZKM

WORKSHOP DIS/EMBODIED AUDIO-VISUAL COLLAGE: COLLECTIVE WORLD-BUILDING WORKSHOP Daniel Lichtman (Stockton University, USA) 0 In this workshop, participants will work together to produce an interactive 3D environment composed of audio recordings and photographic fragments of participants’ immediate, physical surroundings. Over the course of the workshop, participants will capture audio and photographic source material and work together to compose this material into a 3D scene using the Unity game engine and the Community Game Development Toolkit. Participants will then collectively explore the resulting environment as avatars, charting a network of chance encounters with disembodied audio-visual fragments of participants’ surroundings as they move through the virtual space. Each play-through of the scene will yield a unique path through this collaboratively produced collage, representing a unique, virtual composition of participants’ collective experience of space, material and sound. 0 The Community Game Development Toolkit is a set of tools that make it easy and fun for students, artists, researchers and community members to create their own visually rich, interactive 3D environments and story-based games without the use of coding or other specialized game-design skills. The toolkit provides intuitive tools for members of diverse communities to represent their own traditions, rituals and heritages through interactive, visual storytelling.

PANELS THURSDAY AUGUST 25, 02.00PM EST PARA-ACADEMIA, POST-DISCIPLINARY COMMUNITIES, AND NETWORKED SCHOLARSHIP With Mohammad Salemy (The New Centre for Research and Practice), Abbey Pusz & Margo Bergamini (Do Not Research) 0 Communities of knowledge outside of any pedagogic establishment have multiplied exponentially since the COVID-19 pandemic, in an explosion of online courses, collaborative syllabus, and self-directed study groups. This growth reflects not only an expansion of the possibilities offered by new communication technologies, but also a deeper crisis in academia. Universities became largely incapable of absorbing the very scholars and researchers they produce. All the while, fields like the humanities and 59

social sciences struggle to stay relevant face increasingly complex political and cultural scenarios. Could networked scholarship represent a way to reanimate academia through more accessible, solidary, and, oftentimes, grounded forms of knowledge exchange? Or does it create dangerous precedents in times of rampant pseudoscience and fake news? 0 To mark the transition into the Museums Without Walls online program, we will be discussing these questions with representatives of two exceptionally active para-academic platforms: The New Centre for Research & Practice and Do Not Research (DNR). The New Centre is an international, non-profit, higher education institute in the Arts, Humanities, and Sciences, conceived upon the idea that the space of knowledge is a laboratory for navigating the links between thought and action as well as critique and construction. Its pedagogical approach bootstraps the conventional role of the arts, humanities, sciences, and technologies to construct new forms of research and practice alongside, within, and between technology. DNR is a collaborative platform for publishing writing, visual art, and beyond. Launched in 2021, DNR emerged from artist Joshua Citarella’s online chat community of artists and those otherwise concerned with contemporary online visual culture. It started as a community-led reading group centered around Mark Fisher’s Capitalist Realism, but soon encompassed a nexus of blog posts, artworks, and community workshops. DNR is edited, operated, and managed by co-directors Abbey Pusz and Margo Bergamini.

MATERIALS OF MEMORY THURSDAY SEPTEMBER 01, 02.00PM EST FACES, PLACES: CONSTRUCTING THE SITE OF MEMORY THROUGH PARTICIPATORY ART Yi Song (University of Cambridge, United Kingdom) 0 This article will investigate the role of participatory art in mediating memory of French villagers and empowering communities by examining the Inside Out Project and its documentary Faces, Places (2017). The documentary is co-directed by Agnès Varda and photographer JR, recording their art practices of creating portrait murals for ordinary people living in rural areas. Built on Nora’s (1989) site of memory, both the art project and the film can articulate chains of memory from the locals. This art practice actualises the ideal of “a museum without barrier”, and constructs an open space where different actors and media can avail themselves to make engagements and voices. In this context, memory can be deemed as the representation of the time lost and restored and the practice of presence and witness, reenchaining and invigorating the quotidian affairs and objects neglected by the official storytelling. More importantly, this participatory art project can evoke the fundamental issue of cultural identity both to the locals and a broader audience. This article also questions the purity of the site of memory by exploring subjectivities of artists in practice. 60

THE EXPANDED GALLERY EXPERIENCE: DOCUMENTATION AND SIMULATED PRESENCE IN OLAFUR ELIASSON’S YOUR UNCERTAIN ARCHIVE Olivia Eriksson (Stockholm University, Sweden) 0 Installation works’ ability to envelop the spectator in a three-dimensional environment is often hailed as one of its essential traits. But what happens when this basic premise – the presence of the museum visitor and the “here and now” of the exhibition space – is abandoned for the sake of documentation? What becomes of the importance of participation when these artworks meet new demands for accessibility online? 0 The installation shot has been a staple feature when it comes to securing the legacy of exhibitions. Artists, as well as institutions, depend on such photographs for commercial purposes but also for making sure that artworks outlive their brief realization in the gallery in the form of a portfolio or as part of institutional memory. However, the moving image offers other possibilities for capturing the art experience in its fullness. Using internationally renowned installation artist Olafur Eliasson as an illustrative example, this presentation will consider the re-packing of his large-scale installation works in the ongoing art project “Your Uncertain Archive” [olafureliasson.net/uncertain] which gathers his artistic output in one (virtual) place, using video documentation and point of view shots to achieve the sense of being there, in the site of exhibition. PLAYING THE PAST: USING WEBXR TO REBUILD THE LOST CITY Emily Godden (Anglia Ruskin University, United Kingdom) 0 This research works with WebXR as it provides the functionality needed to bring both augmented and virtual reality to the web, enabling humans to use hardware they likely already have in their pocket, their smartphone to create immersive spaces. Introducing Mozilla Hubs is an immersive social experience that is delivered through the web browser Hubs is built using web standards meaning instead of being linked to a specific piece of hardware, Mozilla runs on most mixed reality headsets, from high end industry standard to a cardboard viewer or smartphone. To build the virtual environment for Hubs, Mozilla have kindly developed a web based online 3D scene editor called Spoke. In building an interface much like a games engine that can handle an array of file formats, the process of building interactive WebXR spaces for cultural heritage is accessible to anyone with a smartphone. A key aim of this research is to demystify the complexity of working with games engines and develop workflows custom-developed for working with tools already commonplace in digital heritage such as photogrammetry, 3D scanning and lidar. By leveraging the increasing affordances of games engines this research will work with tools already established in the area of digital heritage alongside new tools from immersive storytelling to ensure the virtual heritage outputs go beyond just reconstructions, but have story embedded throughout and enable interactivity across a range of digital devices. 61

ACCESSING THE ANTARCTIC THROUGH STORYTELLING AND IMMERSIVE TECHNOLOGIES Lesley Johnston (Anglia Ruskin University, United Kingdom) 0 UK Antarctic Heritage Trust (UKAHT) preserves Antarctic heritage monument sites, six bases variously active between 1944 to present day. UKAHT, in an essential bid to increase Antarctic access and accessibility, is exploring the capability of VR for virtual heritage world-building through curated, historical, interactive, narratives and therein exhibiting the material history of place, art, or artefact. We aim to investigate if these experiences can surpass the novelty factor and become a viable long-term method to reach, engage, and inspire a global population. This presentation will showcase our current digital project undertaken with educational partners: digitising elements of our remote site, archive, and material heritage, and making them accessible and engaging to new audiences. We are weaving this digital content together with intangible heritage, layering the voices and evidence of the past over the material present to tell new stories. Through gamification and digital access to authentic artefacts we aim to encourage audiences to identify with, and reflect on, those who worked in these bases. Building empathy and understanding of the historic environmental and climate conditions faced in the past, we better comprehend the climate crisis the world faces now.

INSTITUTIONAL LEAKS THURSDAY SEPTEMBER 08, 02.00PM EST FICTIVE MUSEUMS: ARTIST AS INSTITUTION Antoinette LaFarge (University of California Irvine, USA) 0 Visual artists spend part of their career negotiating entry into the museum, usually through intermediaries (curators, collectors). Frustration with this top-heavy system has led artists to push back, and this dissatisfaction has led another cadre of artists to become institutions, launching their own museums and archives. As I discuss in my recent book Sting in the Tale: Art, Hoax and Provocation, these conceptual museums do not conform in such basic matters as having a physical site, a permanent collection, or a professional staff. Instead, they exist largely to question where the museum’s essential identity lies and who gets to make that determination. The advent of the internet launched a wave of fictive institutions existing and operating primarily on the web, like Clair Le Couteur’s John Affey Museum, but now embracing a much wider range of institutional types. Whether considered hoaxes, facades, or “real” institutions, they underline some of the key problematics of traditional museums while suggesting possible paths forward, not all of which may be considered culturally acceptable. For this conference, I will give an overview of the history of fictive institutions and discuss the ways in which they creatively respond to the idea of the museum and its place in western culture. 62

MUSEUMS ON THE WEB: EXPLORING THE PAST FOR THE FUTURE Karin de Wild (Leiden University, Netherlands) & Nadezhda Povroznik (Perm State University, USA) 0 Within this talk we like to introduce some foundational work by the early Internet pioneers, as well as ruptures and continuities throughout the history of Museums on the Web. Through that, we’d like to introduce the upcoming Special Issue for the journal Internet Histories. This issue welcomes scholars and museum practitioners to discuss histories of museums on the Web. How have online collections been built, circulated, and exhibited? How did (information) architecture and museum websites develop over time? And how did museums build and engage with (online) communities? The main objective of this Special Issue is to reflect on the past to prepare for the future. Due to the COVID-19 pandemic, museums enhanced their digital activities and the importance of the Web to engage with audiences was felt throughout the sector. Furthermore, in today’s fast-changing digital landscape, museums are facing new challenges such as the rise of AI and the semantic Web. By engaging with the past, we can enhance our understanding of how museums are functioning today and offer new perspectives for future developments. A PALACE, A STREET ROUTER AND A DIGITAL ARTS MUSEUM: ON THE PALAIS DES BEAUX ARTS WIEN Lia Carreira (Southampton University, United Kingdom) 0 The Palais des Beaux Arts Wien is a digital museum located at the corner of Löwengasse 47a in Vienna. Created in 2014 by artist Bernhard Garnicnig, the museum dedicated to digital art was accessed only through a local router hidden in a shop across the street. To enter the museum, one had to physically stand with a mobile device within the router’s perimeter. Initially described as a “historic site for future-thinking art,” the project challenged the notions of what constitutes a museum and exhibition space by establishing an on-site museum without walls. In the early twentieth-century, the building itself housed the Atelier Bachwitz, a publishing house for the production and distribution of fashion and lifestyle magazines, which would later be seized by the Nazi regime. Now under the artistic direction of Seth Weiner, the institution shines a new light on this historical past and sets to discuss the multiple layering of the concepts of appropriation and occupation which has been cast upon the physical building throughout the decades. In this presentation, I will cover the development of the institution, highlighting the parallels between the digital and physical spaces of the museum and their appropriations. CORPORATE PRUDISHNESS AND ITS CHALLENGES ON ALTERNATIVE AND MINORITY CULTURE VIRTUAL EXHIBITIONS Rene G. Cepeda (UNARTE, Mexico) 0 From censoring artistic nudity to profanity filters, corporate censorship stifles artists and their works and by extension the creative scope of 63

exhibitions by limiting the choice of platforms available. Examples of this include Facebook, Instagram and TikTok banning Vienna museums for posting nudes from their collections to the point the participating museums had to move to OnlyFans, a platform mostly known for sex work. More egregiously, queer, and disabled artists such as Robert Andy Coombs constantly find themselves hit with community guideline violations for content that heteronormative, able-bodied artists don’t. Furthermore, this limited access to the most popular and by extension more restrictive platforms reduces the reach and accessibility of virtual exhibitions. Not only that, but the necessity for commissioning custom platforms or in-house developments to replicate functionality available in pre-existing platforms elevates costs and reduces the creative and experimental power of online exhibitions. In this presentation I will address the challenges faced by curators and institutions when operating within those spaces and discuss possible ways out of this situation.

SITES OF EXHIBITION THURSDAY SEPTEMBER 15, 02.00PM EST GALLERIES IN SIMULATED VIRTUAL ENVIRONMENTS: THE CASE OF ARS VIRTUA Laura Cocciolillo (Ca’ Foscari University, Italy) 0 We are witnessing a transition from a “readability” of the image to a “playability” of the environmental image: this is reconfiguring the art spaces and transposing them in shared virtual environments. Questioning the relationship between museums and online platforms reveals the assumption that real and virtual are two opposite conditions, while they are actually two sides of the same coin. Does the virtual need the real or does the real need the virtual? In the hypervisual environment that characterizes the contemporary era, one needs the other and vice versa. Rather, the purpose of this essay is to focus on the simulated virtual environments that since nearly two decades have demonstrated to be a privileged arena for experimenting with truly fluid and malleable possibilities for exhibitions, built without the physics rules of the “off-world”. Tracing the history of one of the most interesting exhibition venues in a virtual environment, Ars Virtua Gallery, a New Media Center and Gallery located primarily in the synthetic world of Second Life, this dissertation explores the potentials and limitations of an art space entirely settled in a simulated social environment. ART CURATING AND AESTHETICS IN THE METAVERSE: AN ESSAY ABOUT ART EXHIBITIONS ON VIRTUAL PLATFORMS Daniel Hora, Karyne Berger Miertschink & Larissa Pereira (Federal University of Espírito Santo, Brazil) 0 In this essay we comment on some factors involved in curatorial activities and the aesthetic experience of visual arts, as observed in practices of 64

exhibition on virtual platforms. The first case to be presented is the sandboxbuilding, AI-driven MMO game Occupy White Walls, that intitles itself as an artiverse. The game gathers images from museums’ collections licensed by agreement or available in public domain, in addition to original artworks sent by users. The participants’ interaction involves the exhibit spaces configuration, and the acquisition of pieces, freely chosen by players or oriented by the Artificial Intelligence DAISY. This algorithmic assistance enhances the gameplay but also presents the risk of reinforcing taste patterns (MANOVICH, 2018). The Wrong Biennale, in turn, articulates itself as a network of virtual and physical exhibitions of digital art. In its last edition (2021-2022), the project included pavilions in spaces of virtual immersion structured on various platforms. As examples, we can mention projects such as Notland (SIMMER.io), Techspressionism (Kunstmatrix), My Mother Was a Computer (New Art City), and Re-Significados (Metaverso:Binaria). These cases allow us to observe how art curating and its reception are conditioned by different options, with their respective degrees of technological, social, and economic structuring. YOUSEUM: MUSEUM AS INFRASTRUCTURAL MASHUP THE SPONSORED CRISIS OF MATERIALITY: NEGOTIATING THE ART INDUSTRY AND THE PLATFORM ECONOMY Roselinde Bon (University of Amsterdam, Netherlands) Pose, play, & explore along an hour-long tour through 30 eye-catching installations. At Youseum, you are the artwork, the artist, & the critic. 0 Using the Youseum in Amsterdam as a case study, I argue that within the physical space of the Instagram museum, material urban environments and immaterial social media cultures become increasingly entangled. The remixing of picture-perfect, occularcentrist Instagram aesthetics in a physical museum reiterates Juhani Pallasmaa’s conceptualisation of the rise of “retinal art” in the urban realm. Aesthetics that were popularized through photographic squares in two-dimensional feeds are now translated into “three-dimensional visual images in space.” Through physical adaptations of online aesthetics and an emphasis on the transmedial expression of a social self(ie), boundaries become blurred. Just like social media weave “predefined communicative acts” like sharing and liking into an “economic logic”, Instagram museums predefine visiting and “gramming” sponsored rooms as an interaction with corporate interests. Tracing this negotiation between art industry and platform economy as embodied by the Youseum, I propose that rather than a purely digital “plug in,” the pop-up Instagram museum is a “product of interoperability”, an infrastructural “mashup” of its own kind. Adapting the two-dimensional aesthetic and logic of Instagram for a threedimensional urban space has the potential to reconceptualize virtual art as an embodied and interactive experience. 65

REFLEXIVE-VR.COM: RECONFIGURING A PHYSICAL VR EXHIBITION INTO AN ONLINE VIRTUAL EXHIBITION DUE TO THE COVID-19 PANDEMIC Sojung Bahng (Queen’s University, Canada), Vincent Dziekan & Jon McCormack (Monash University, Australia) 0 This paper reviews a virtual exhibition titled reflexive-vr.com. Initially planned as a public exhibition featuring cinematic VR works by media artist/filmmaker Sojung Bahng, due to restrictions imposed by the COVID-19 pandemic, a different curatorial approach was needed in order to reconfigure the original installation plan into an interactive online viewing experience. This reflective analysis explores the design strategies involved in this case and how the viewing experiences associated with the artistic intent of three VR artworks (Floating Walk, Anonymous and Sleeping Eyes) was supported by the exhibition’s translation from a gallery-based installation into an online virtual environment. We will address technical specifications, consider curatorial strategy and implications to narrative flow and phenomenological experience, and – while acknowledging present limitations – raise the potential for online exhibition formats to serve as a distinctive presentational mode in their own right for engaging viewers with VR works.

PERFORMING COLLECTIONS THURSDAY SEPTEMBER 22, 02.00PM EST A MUSEUM FOR CONTEMPLATION: A COMPARATIVE STUDY BETWEEN IMAGINE MONET AND THE MUSEE L’ORANGERIE’S WATER LILIES Ashley Lanni (University of Toronto, Canada) 0 Immersive environments are a mainstay of emerging art galleries and exhibitions. From VR experiences to floor-to-ceiling screen installations, contemporary museum goers gravitate to spaces that promise content that is an alternative to the classically static and distant museum-going experience. This presentation compares the Monet exhibit at the L’Orangerie museum in Paris, France and the Imagine Monet exhibition that recently passed through Montreal, Canada. In contrasting these two exhibits, we will look at the power of immersion and contemplation in spaces of artistic installation and show the ways in which progressive and immersive spatial design is not necessarily synonymous with technology. At the core of the discussion will be how “technology” works in making a visitor a part of the curated experience, and the importance of active participation in immersion. In other words, the presentation will look to answer what precisely works and doesn’t work when creating a technologically immersive experience. As Monet put it, “people must first of all learn to look at nature, and only then may they see and understand what we are trying to do.” The immersive exhibit should teach the visitor to gaze, rather than do the gazing for them.

THE DIGITALIZATION IN MUSEUMS IN VIETNAM: THE CURATION OF NEW MEDIA Dr. Le Thu Mach (Ho Chi Minh National Academy of Politics, Vietnam), Nguyen Thi Bao Ngoc (Vietnam Fine Arts Museum, Vietnam) 0 The digitalization in museums in Vietnam started before the COVID-19 pandemic, and has been further accelerated during the pandemic. This includes the use of websites, apps, producing contents for social media pages, and other new media tools for museum curation, both in museums and on the Internet environment. Vietnam has a young and tech-savvy population who are willing to shift from physical visits to virtual visits to museums. Using the feedback of visitors of Vietnam Fine Arts Museum, and the in-depth interviews with the museum staff, this paper describes the digitization in museums in Vietnam and analyses the effectiveness of the types of contents to be curated on digital tools. The paper also explores the use of new media among different groups of museum visitors, including the youth, the middle-aged, and the elderly; Vietnamese and foreigners. It also analyses the growth in the number of museum app users of Vietnam Fine Arts Museum. The authors discuss the changes in regulations and policies to facilitate the digitalization in museums in Vietnam. Lessons learnt from the early stages of digitalization in museums in Vietnam can contribute meaningfully to the understanding of digitalization and museum management in the Global South. DIGITALISING COMMUNITY ENGAGEMENT AND COCURATION OF LOCAL DESIGN CULTURE Hoyee Tse (Royal College of Art, United Kingdom) 0 This paper explores in what ways curators can utilize online platforms, such as Mozilla Hubs, to co-curate local design collections. This curation-led research aims at promoting the acknowledgement of local design objects and culture in shaping socio-cultural identity through the use of online platforms that supports simultaneous navigation, live audio conversation, and uploading of multidimensional objects and multimedia materials. My methodology is to experiment on a community-engaged co-curating model with the digital platform. I conduct a series of community-engaged digital curatorial activities and interviews in which local community members in London share their design objects, which they find representative of their local culture and memories, to the Hubs space. Through these individual interviews, I collect qualitative data from the members on why they select the objects and how they curate the digital space. My analysis examines to what extent digital platforms can make museum collecting and curatorial practices more transparent and interactive for its audience while empowering them in the collection decision making process. It gives an insight into the opportunities that Mozilla Hubs has for collecting local memories and objects as well as the challenges to sustain digital engagement from local communities in cocurating museum collections. 67

RECRUITING COLLECTIVE INTELLIGENCE TO LEVEL ART WORLD STRATIFICATION: HOW VIRTUAL MUSEUMS CAN IMPACT THE ACTUAL ART SYSTEM Stéphanie Bertrand (Concordia University, Canada; ICS-FORTH, Greece) 0 Departing from one of the five key cultural impacts of physical museums, this talk explores an important virtual benefit of online digitized art collections. The claim is that these increasingly interconnected collections have the potential to transform the art system’s inherent stratification, viz. modulate the art world’s access barriers to institutional prestige, thus benefiting artists by leveling the playing field. They can serve as a digital infrastructure to recruit collective intelligence on a mass scale in order to offset the perverse effects of the art world’s gatekeeping mechanisms, and foster more equality and diversity in the milieu. However, this impact cannot simply be achieved by turning users into citizen curators or leveraging “altmetrics” (views and likes) to influence selection and modulate order within an aggregated or distributed database. The main obstacle to this impact is not online access barriers nor insufficient participation. Multiplying eyeballs, facilitating discovery and promoting public choices are all vital; but these initiatives cannot hope to transform the system if the individual judgment being captured is subject to network effects driving inequality. To surpass these effects, the talk concludes by proposing a novel, choice-based, pathfinding navigational tool designed to recruit users’ sensemaking faculty as opposed to their personal taste.

THURSDAY SEPTEMBER 29, 02.00PM EST VIRTUAL GALLERIES, ACTUAL INSTITUTIONS With Robin Stethem (Museum of Other Realities), Lívia Nolasco-Rózsás (Beyond Matter/ ZKM, Germany) 0 Do virtual galleries exist after the system stops running? In this closing panel of the Museums Without Walls’ online program, we will address how simulated and immersive environments may be the cornerstone for larger institutional operations, underpinning anything from cultural preservation to providing shared frames of reference and enabling consistent forms of assemblage between actors both human and non-human. The discussion will feature the participation of representatives of Museum of Other Realities, a Vancouver-based enterprise, and Beyond Matter, a project led by the Zentrum fur Kunst Media Karlsruhe. 0 The Museum of Other Realities (MOR) is an immersive multiplayer art showcase in virtual reality. It contains a growing collection of interactive art and experimentation, covering everything from 3D paintings to fullyfledged narrative experiences. Lately, besides displaying works from its own collection, MOR has been working in partnership with a number of renowned film festivals, such as the Vancouver International Film Festival, 68

Tribeca Film Festival, and the Cannes Film Festival, to host their immersive media programs. 0 Beyond Matter is an international, collaborative, practice-based research project that takes cultural heritage and culture in development to the verge of virtual reality. It does this by reflecting on the virtual condition with a specific emphasis on its spatial aspects in art production, curating, and mediation via numerous activities and formats, including the digital revival of selected past landmark exhibitions, art and archival exhibitions, conferences, artist residency programs, an online platform, and publications. This common undertaking seeks to engage with a contemporary shift — largely attributable to the rapid development and ubiquitous presence and use of computation and information technology — in the production and mediation of visual art within institutional frameworks.

INDEX

House-Studio-Gallery: Publishing Mobile Strategies of Display & Mediation paula roush (CSNI/London South Bank University, United Kingdom) 22 Mapping Cross-Dimensional Practices: ComputationallyMediated Worldmaking Teodora Sinziana Fartan (London South Bank University, United Kingdom) 22

ON-SITE 0 KEYNOTES Cinema of Transmission (Talk & Screening) Michael Connor (Rhizome, USA) 18 Computational Museology: Interfaces to Cultural (Big) Data Professor Sarah Kenderdine (eM+/ École polytechnique fédérale de Lausanne, Switzerland) 18 Digital and New Media Arts Archives – Challenges and Opportunities Dr. Sara Diamond (OCAD University, Canada) 19 Telidon: Exhuming Canada’s Earliest Digital Art Shauna Jean Doherty (independent curator, Canada) 19 The Seagull and the Taj Mahal: Exhibiting Videogame Assets as Art Objects Pippin Barr (Concordia University, Canada) 19 0 PAPERS & PANELS A Virtual Riot: Re-animating the 1907 AntiAsian Riot in Vancouver Su-Anne Yeo (University of British Columbia, Canada) 25 AFAAB in VR and IRL Catalina Alvarez, Liz Flyntz & Leander O’Connell Johnson (Ant Farm Antioch Art Building Creative Preservation Initiative, USA) 27 Anarchival Photogrammetry: Creative Applications of 3D scanning in Cultural Heritage Preservation and Presentation Elina Lex (Concordia University, Canada) 26 Back to the Futures: Art and the Emergence of the Internet at the BNMI, 1995-2005 Jennifer Kennedy (Queen’s University, Canada) 23

Navigating Research at the Museum of the Contemporary Dr. Diego Rotman (The Hebrew University of Jerusalem, Israel), Lea Mauas (Queen’s University, Canada) 27 Pan-Tilt-Zoom: An Exhibition for the Electronic Eye Blake Fall-Conroy & Nimrod Astarhan (Art Institute of Chicago, USA) 21 The Meander and/as Curatorial Process Treva Legassie (Concordia University, Canada) 21 The Miniature in the Museum: Creating an Immersive Digital Experience for Netsuke at the Montréal Museum of Fine Arts Lindsay Corbett (McGill University, Canada) 24 Things+Time: A Virtual Artists’ Archive Ellie Décary-Chen, Lucas LaRochelle, Prakash Krishnan & Heather Mitchell (Things+Time, Canada) 28 Total Screen: The Exhibition that Did/Did Not Take Place Amandine Alessandra, Carole Lévesque, Katharina Niemeyer & Magali Uhl (Université du Québec à Montréal, Canada), Marine Baudrillard (Cool Memories Association, France) 20 Virtually Exploring the Benin Bronzes Repatriation Initiative Mikayla Brown (Temple University, USA) 25 0 WORKSHOPS Collective World-Making: Envisioning Futures through Machinic Collaborations Teodora Sinziana Fartan (CSNI, London South Bank University) 30 Exhibiting Net Art Michael Connor (Rhizome) 31 How to Write a 100-Year Plan George Oates (Flickr Foundation) 29

Choose Your Own Artwork: Google Arts & Culture and the DIY Museum Bethany Berard (Carleton University, Canada), Sarah E.K. Smith (Western University, Canada) 28

Manifesting Reimagined Collection Portals Danuta Sierhuis & Jennifer Nicoll (Agnes Etherington Art Centre) 31

Creating Communities Through Art JungAh Kim, Peggy Fussell, Tia Bankosky, Prerana Das, Drew Burton, Jessa Laframboise & Anna Douglas (Queen’s University, Canada) 29

Representing the Aesthetics of the Ecological Luisa Ji & Jerrold McGrath (UKAI Projects) 30

Exploring the Remastered Exhibit: A Comprehensive Look into the Aga Khan Museum’s XR Artwork Exhibition Michael Carter-Arlt (Toronto Metropolitan University, Canada) 24 Hauntings in the Digital Sphere: Curating Collection Portals w ith Aarati Akkapeddi (interdisciplinary artist), Brandie MacDonald (Museum of Us), Chao Tayiana Maina (African Digital Heritage, Museum of British Colonialism, Open Restitution Africa), Danuta Sierhuis & Jennifer Nicoll (Agnes Etherington Art Centre) 22

EXHIBITION Artificial Museum SystemKollectiv 36 Cordiais M ari Nagem 44 Counterpublic Episodes Diogo de Moraes Silva 45 E.C.O. The Memory of Objects Magdalena Isaacson L. & Luis Navarro F. 50

Écran Total - Total Screen 38 Gallery 404 David Schmudde 42 Grosse Fatigue Camille Henrot 34 House-Studio-Gallery paula roush & msdm 49 Museum of Mediocre Appropriations Michael Luo 48 Museum of Other Realities 40 Place in Time 3: AE Ana Valine 37 stick.t.me Zentrum für Netkunst 52 The Broken Timeline A nnet Dekker, Marialaura Ghidini & Gaia Tedone 43 The Zium Gallery The Zium Society 46

ON-LINE 0 PAPER & PANELS A Museum for Contemplation: A Comparative Study between Imagine Monet and the Musee L’Orangerie’s Water Lilies Ashley Lanni (University of Toronto, Canada) 66 A Palace, a Street Router and a Digital Arts Museum: on the Palais des Beaux Arts Wien Lia Carreira (Southampton University, United Kingdom) 63 Accessing the Antarctic through Storytelling and Immersive Technologies Lesley Johnston (Anglia Ruskin University, United Kingdom) 62 Art Curating and Aesthetics in the Metaverse: An Essay About Art Exhibitions on Virtual Platforms Daniel Hora, Karyne Berger Miertschink & Larissa Pereira (Federal University of Espírito Santo, Brazil) 65

Para-Academia, Post-Disciplinary Communities, and Networked Scholarship with Mohammad Salemy (The New Centre for Research and Practice), Abbey Pusz & Margo Bergamini (Do Not Research) 59 Playing the Past: Using WebXR to Rebuild the Lost City Emily Godden (Anglia Ruskin University, United Kingdom) 55 Recruiting Collective Intelligence to Level Art World Stratification: How Virtual Museums Can Impact the Actual Art System Stéphanie Bertrand (Concordia University, Canada; ICS-FORTH, Greece) 61 Reflexive-vr.com: Reconfiguring a physical VR exhibition into an online virtual exhibition due to the COVID-19 pandemic Sojung Bahng (Queen’s University, Canada), Vincent Dziekan & Jon McCormack (Monash University, Australia) 66 The Digitalization in Museums in Vietnam: The Curation of New Media Dr. Le Thu Mach (Ho Chi Minh National Academy of Politics, Vietnam), Nguyen Thi Bao Ngoc (Vietnam Fine Arts Museum, Vietnam) 67 The Expanded Gallery Experience: Documentation and Simulated Presence in Olafur Eliasson’s Your Uncertain Archive Olivia Eriksson (Stockholm University, Sweden) 61 Virtual Galleries, Actual Institutions with Robin Stethem (Museum of Other Realities), Lívia NolascoRózsás (Beyond Matter/ZKM, Germany) 68 Youseum: Museum as Infrastructural Mashup the Sponsored Crisis of Materiality: Negotiating the Art Industry and the Platform Economy Roselinde Bon (University of Amsterdam, Netherlands) 65 0 WORKSHOP Dis/embodied Audio-visual Collage: Collective World-Building Workshop Daniel Lichtman (Stockton University, USA) 59

Corporate Prudishness and its Challenges on Alternative and Minority Culture Virtual Exhibitions Rene G. Cepeda (UNARTE, Mexico) 64 Digitalising Community Engagement and Cocuration of Local Design Culture Hoyee Tse (Royal College of Art, United Kingdom) 67 Faces, Places: Constructing the Site of Memory through Participatory Art Yi Song (University of Cambridge, United Kingdom) 60 Fictive Museums: Artist as Institution Antoinette LaFarge (University of California Irvine, USA) 62 Galleries in Simulated Virtual Environments: the Case of Ars Virtua Laura Cocciolillo (Ca’ Foscari University, Italy) 64 Museums on the Web: Exploring the Past for the Future Karin de Wild (Leiden University, Netherlands) & Nadezhda Povroznik (Perm State University, USA) 63

BIOS

AARATI AKKAPEDDI is a first-generation, Telugu-American, interdisciplinary artist, coder and educator based in Lenapehoking (Brooklyn, NY). They combine archival material, code, machine learning and analog techniques (photography & printmaking) to create artwork about intergenerational and collective memory. They often use family photographs as a source material, creating performative rituals of information extraction. Their work has been supported by Ada X, ETOPIA Center for Art & Technology, and LES Printshop. They currently teach creative coding in the Design & Technology department at Parsons. AMANDINE ALESSANDRA is a photographer, designer, and professor at the School of Design at the Université du Québec à Montréal (UQAM). Her research explores the body as an interface in the process of mediation of the message, as well as the ways in which digital tools function as spatial and temporal extensions of the Here and Now. CATALINA ALVAREZ collaborates with citizens and actors to incorporate physical theater and social issues into films, expanded cinema and virtual reality projects. Together with Liz Flyntz she co-founded Ant Farm Antioch Art Building Creative Preservation Initiative (AFAAB), an initiative to preserve and engage creatively with Antioch’s historic art building, the only publicly accessible building designed by the radical media art and architecture group Ant Farm. NIMROD ASTARHAN is an artist, technologist, and lecturer for Digital Art. As an artist working in Sculpture and Digital Media he exhibited and initiated group projects in Israel, Germany, Belgium, the US, and the ISS, and worked on commissioned projects for museums, international festivals and biennales. SOJUNG BAHNG is an award-winning multidisciplinary artist, filmmaker and researcher. She was appointed as an Assistant Professor in Media and Performance Production at Queen’s University, beginning in July 2022. Sojung explores cinematic media via digital technologies to reflect aesthetic and narrative experiences in cultural and philosophical contexts. She holds a PhD from SensiLab at Monash University in Australia and her doctoral thesis Cinematic VR as a reflexive tool beyond empathy was awarded the 2020 Mollie Holman award for the best thesis of the year. PIPPIN BARR is a videogame maker, educator, and critic who lives and works in Montréal. He is an Associate Professor of Computation Arts at Concordia University and the Associate Director of the Technoculture, Art, and Games (TAG) Research Centre. He made games like The Artist Is Present, It is as if you were doing work, and The Nothings Suite, and he’s working on a book about experimental game design. Pippin’s website, pippinbarr.com, organizes his diverse activities into a central location. MARINE BAUDRILLARD was the artistic director of Sciences et Avenir magazine, the “Nos spéciaux” section of the Nouvel Observateur, Renault Magazine, and Temps Retrouvé. She is currently president of the Cool Memories association, founded in 2009. She also organises conferences and exhibitions that explore the theoretical and photographic work of the philosopher Jean Baudrillard, her late husband. BETHANY BERARD is a PhD Candidate in Communication and Media Studies at Carleton University. Her research connects visual culture and media history and theory. Her dissertation looks at the history of photography through information theory, and her broader research program includes projects on the technological production of visual culture, and experimental visual methodological design. She is the Assistant Editor of the Canadian Journal of Communication and the Publications Editor of Reading the Pictures. MARGO BERGAMINI is a writer interested in cultural currents critical of modernity. She researches online reactionary subcultures like the alt-right and its various competing present-day successors, all of which are themselves distinctly modern. Her essays investigate these groups’ — and others’ — autodidactic efforts, and how these efforts express

a desire for beauty and refinement that neither platforms nor contemporary institutes can satisfy. Margo is co-director of Do Not Research. MICHAEL BERTO is a writer, composer, game designer and curator from Australia. In 2017, Berto founded The Zium Society, a collective responsible for releasing virtual, digital art gallery experiences utilizing the Unity game engine to display works from artists from all over the world. He currently works in the video game industry as a narrative designer, writer, and composer. STÉPHANIE BERTRAND is a Canadian curator and researcher based in Greece. Over the past fifteen years, she has organized exhibitions and participated in artistic and research projects in North and South America, and in Europe. She holds a PhD from the School of Architecture at Aristotle University, Thessaloniki and an MFA Curating from Goldsmiths College, London. She has been awarded the Commonwealth Scholarship, Onassis Foreigner’s Fellowship and Hannah Arendt Prize in Critical Theory and Creative Research. She is currently completing a Marie Sklodowska-Curie global postdoctoral fellowship on virtual museums of contemporary art at Milieux Institute for Arts, Culture and Technology at Concordia University, Montreal, and the Institute of Computer Science at the Foundation for Research and Technology – Hellas, Heraklion. She is the author of Contemporary Curating, Artistic Reference and Public Reception: Reconsidering Inclusion, Transparency and Mediation in Exhibition Making Practice published by Routledge. ROSELINDE BON, MA , has a background in cultural analysis and is currently a lecturer in Television and Cross-Media Culture at the University of Amsterdam. Her academic interests revolve around smartphone cultures, urban screens, and the increasing integration of social media logic in physical spaces. She often connects her professional experience as a digital creative and travel blogger to her research into transmedial forms of storytelling. MIKAYLA BROWN is a Communication Ph.D. student at Temple University. She received her M.A. degree in New Media and Digital Culture at The University of Amsterdam and her B.A. from Hunter College in Media Studies. Her core interest is in “play” or using digital methods to study the web, online devices, and digital platforms for research into social, ethical, and legal implications of surveillance technologies. She recently finished creating a 3D imaginative design of a transportable museum imagined to travel around the Lower Mississippi Delta region, featuring artwork from local artists. LIA CARREIRA is a PhD student at the Winchester School of Art of the University of Southampton (UK). She has a Bachelor in Media Studies (UFES/Brazil), and a first Master in Media Technologies and Aesthetic (UFRJ/Brazil) where she developed research on digital art and image appropriation. Her second Master in Media Arts Cultures (Danube University Krems, Aalborg University and the City University of Hong Kong) focused on online exhibition practices. Previously, she has worked as a researcher for the Zentrum für Kunst und Medien (ZKM) in Germany, where she developed research on online-based curatorial platforms and practices, and on Artificial Intelligence in the Arts. MICHAEL CARTER-ARLT is the Immersive Technology Specialist at the Toronto Metropolitan University Library. In this role he utilizes his skills in Graphic Design, 2D Animation, Digital Media, and 3D Development to create XR projects related to pedagogy, SRC (Scholarly, Research and Creative) projects, as well as the creation of open educational resources (OER). Michael also manages the Immersion Studio in the TMU Library, which is a 360° interactive projection cylinder designed for collaborative VR. He was the lead developer for the Remastered Exhibit at the Aga Khan Museum, the lead developer on two XR projects for the Consulate General of Germany, and was the supervisor for volumetric video capture of a Holocaust survivor for the Dimensions in Testimony project led by the USC Shoah Foundation.

RENÉ G. CEPEDA is a Mexican multidisciplinary designer, artist, and art historian specializing in new media art. He currently teaches at UNARTE and is the curator of the New Media Caucus’ Header/Footer Gallery. He holds an M.A. in art history and curating from Liverpool Hope University, and a PhD in Curation and Display of Interactive New Media Art from University of Sunderland. As a curator, he creates immersive and interactive exhibitions that combine formal curatorial practice with creativity in design to entertain and educate audiences. LAURA COCCIOLILLO (1997) graduated in 2019 in Contemporary Art at La Sapienza University, Rome, with a dissertation on Curatorial Practices for Net Art in the 21st century. She is currently attending a master’s degree course in Contemporary Art at Ca’ Foscari University in Venice. Her research is mainly focused on the relationship between art and new technologies, in particular on digital culture and aesthetics of new media. Among her publications: “Net Art and hacktivism: The artivism in the network from the nineties to today” (Connessioni Remote 2, 2021), “The self and the other:” The body, empathy, and relationship with otherness in virtual reality” (Kabul Magazine, in print forthcoming); “Second Life: first steps into the virtual scape in visual arts” (Meta.space, in print forthcoming). MICHAEL CONNOR is Artistic Director of Rhizome, where he oversaw the Net Art Anthology initiative, a web-based exhibition, gallery exhibition, and book that retold the history of online art through 100 artworks from the 1980s to the present. He worked for several years at FACT, Liverpool, as Curator of New Media, where he worked with artists such as Cory Arcangel, JODI, and Shu Lea Cheang. He has worked as Coordinating Curator for the “Screen Worlds” permanent exhibition at ACMI, Melbourne, and has worked at Rhizome since 2013, where he is currently editing Emotional Bandwidth, a book by Gene Youngblood about the work of Kit Galloway and Sherrie Rabinowitz. CREATING COMMUNITIES THROUGH ART is an interdisciplinary team of seven graduate students from Queen’s University conducting research on community-led art education in the Katarokwi/Kingston region in past, present, and future contexts. The collaborative research project is a partnership between Union Gallery and the Tett Centre for Creativity and Learning. ELLIE DÉCARY-CHEN is an artist and creative technologist working in digital media and cultural intervention. They are interested in creating work that grows inside of the digital systems they seek to dissect. Décary-Chen has worked in numerous fields, including wearable computing, games, interactive filmmaking, and tech education. ANNET DEKKER (aaaan.net) is a curator and researcher. Currently she is Assistant Professor Cultural Analysis, and Archival and Information Studies at the University of Amsterdam. She is also Visiting Professor and co-director of the Centre for the Study of the Networked Image at London South Bank University. She has a long career in working as a researcher and curator for international organizations, festivals and galleries where she organizes exhibitions, workshops, artists-in-residencies, and conferences. She publishes regularly in numerous collections and journals and is the editor of several volumes, most recently, Documentation as Art: Expanded Digital Practices (Routledge, 2022, co-edited with Gabriella Giannachi), and Curating Digital Art: From Presenting and Collecting Digital Art to Networked Co-Curating (Valiz 2021). Her monograph, Collecting and Conserving Net Art: Moving Beyond Conventional Methods (Routledge 2018) is a seminal work in the field of digital art conservation. DR. SARA DIAMOND, C.M., Ord. of Ontario is an OCAD University Research Chair Director of the Visual Analytics Lab. She was president of OCAD University between 2005 and 2020 and, before that, founding director of the Banff New Media Institute. As a historian, media artist and computer scientist, Diamond brings a deep interest in the relationships of human practices, culture, and technologies and a profound

commitment to equity and Indigenous rights. Current SSHRC funded scholarship includes developing an ecosystem to link archives and support critical archives studies and creative research. She is co-chair of Toronto’s ArtworxTO, the Year of Public Art and Toronto’s Nuit Blanche and chair of the Toronto Arts Foundation. Recognitions include Doctor of Science, honoris causa, Simon Fraser University, 2020; the 2020 Exceptional Women of Excellence from the Women’s Economic Forum, and two New Media “Pioneer” awards. SHAUNA JEAN DOHERTY is a curator and writer who examines the socialization of technology in her creative practice. She has curated exhibitions, video screenings, and A/V performances since 2009 in a variety of spaces including: Arsenal Contemporary Art, Vtape, The Centre For Art Tapes, The Art Gallery of Ontario, VIVO Media Arts Centre and the Museum of Vancouver. Her written work, which has addressed topics including sonic warfare, art and AI, post-internet aesthetics, and internet art archiving, has been published in esse arts + opinions, The Journal of Sonic Studies, C Magazine, The Journal of Curatorial Studies, and Canadian Art Magazine. BLAKE FALL-CONROY is an artist and self-taught mechanical engineer. He has exhibited work at the Foundation for Art and Creative Technology in Liverpool, Pavel Zoubok in New York City, the Science Gallery in Dublin, Baltan Laboratories in Eindhoven, the Museum of Capitalism in Oakland, and the Headlands Center for the Arts in Sausalito, among others. LINDSAY CORBETT is a PhD candidate in the Department of Art History and Communication Studies at McGill University, specializing in Byzantine art and architecture. She is currently working on a digital initiative project at the Montréal Museum of Fine Arts, where she was previously a research fellowship on the Arts of One World exhibition. Lindsay has also held positions at the McGill Visual Arts Collection, as well as in several art studios in Montréal. VINCE DZIEKAN is a Senior Academic and Practitioner-Researcher at Monash Art Design & Architecture (MADA), Monash University, Australia, whose work engages with the transformation of contemporary curatorial practices at the intersection of design, creative technology and museum culture. Vince is Program Director of Communication Design Honours and International Studies Programs in the Faculty of Art Design & Architecture at Monash University in Melbourne, Australia. OLIVIA ERIKSSON is a postdoctoral research fellow in cinema studies at the Department of Media Studies, Stockholm University. Her research centers around the moving image within an art context, particularly in relation to questions of embodiment and site specificity. Her dissertation Gallery Experience: Viewers, Screens and the Space In-Between in Contemporary Installation Art (2021) examines the situated viewing practices of film installations in a gallery setting. Eriksson’s current research project focuses on the cinematic image as a social situation, starting from curatorial processes in contemporary moving image art. TEODORA SINZIANA FARTAN is a computational and new media artist exploring practices of worlding, virtual poetics and the alternative imaginaries made possible by emerging and immersive technologies. She is currently exploring these themes throughout her PhD at the Centre for the Study of the Networked Image at London South Bank University. Alongside her artistic and research practice, Teodora is an Associate Lecturer in Contextual and Theoretical Studies of Moving Image and Digital Art at the University of the Arts London and an Associate Lecturer in Creative Computing at the i-DAT Centre at University of Plymouth. LIZ FLYNTZ is a designer, curator, and artist. She is interested in early video art and documentary, economics and distribution networks, participatory and collective art making. She’s co-founder, with Catalina Alvarez, of AFAAB or the Ant Farm Art Building Creative Preservation Initiative, an experimental collective dedicated to rethinking preservation, design, and archival

research. She is Director of Design and UX at DOOR3, a design/ build technology firm. EMILY GODDEN is a PhD student with the StoryLab research institute and a BA (Hons) Digital Media Production Lecturer at Anglia Ruskin university in Cambridge. She has an MA in Printmaking and her current PhD study is called “Specters and Sebald: A practice-led investigation into interactive storytelling and environmental heritage to re-build The Lost City of Dunwich.” Outside of academia, Emily runs a social enterprise Virtually There Studio CIC to support humans in East Anglia with digital literacy and creative skills to aid wellbeing. LUISA JI holds a master’s degree in Architecture from Carleton University. Her 2015 thesis “Does Architecture Dream of Upheavals?” speculates the collapse of iconic architecture and the shift toward social responsiveness. LEANDER O’CONNELL JOHNSON was born in the United States in 1996 and was raised as the Printer’s Devil at Salt & Cedar—a letterpress studio in Detroit. Johnson contributed to the founding of Ant Farm Antioch Art Building Creative Preservation Initiative and continues to expand the graphic identity of the group. They live in Detroit where they make music, books and ephemera, and are engaged in community organizing. LESLEY JOHNSTON is a Narrative Designer with the UK Antarctic Heritage Trust and a KTP Research Associate within Storylab at Anglia Ruskin University. Previously she was a freelance Heritage Visualisation and Photogrammetry consultant. Lesley holds an MSc in Heritage Visualisation from Glasgow School of Art, The School of Simulated and Visualisation. Her current role involves concepting, design, and development of an interactive, immersive Antarctic experience. PROFESSOR SARAH KENDERDINE researches at the forefront of interactive and immersive experiences for galleries, libraries, archives and museums. She has amalgamated tangible and intangible cultural heritage with new media art practice, especially in the realms of interactive cinema, augmented reality and embodied narrative. Sarah has produced 90 exhibitions and installations for museums worldwide including a museum complex in India. In 2017, Sarah was appointed professor at the École Polytechnique fédérale de Lausanne (EPFL), Switzerland where she has built the Laboratory for Experimental Museology (eM+), exploring the convergence of cultural heritage, imaging technologies, immersive visualisation, digital aesthetics and cultural (big) data. Since 2017, Sarah has been director and lead curator of EPFL Pavilions. JEN KENNEDY is an Assistant Professor in the Department of Art History and Art Conservation at Queen’s where her teaching and research focus on contemporary art history and theory with an emphasis on transnational feminisms and intersections between art, technology, and politics since the 1950s. She is co-editor of Transnational Perspectives on Feminism and Art (Routledge 2021) and a founding member of Open Art Histories. Her current research is funded by the Social Sciences and Humanities Research Council of Canada and examines the histories and legacies of artistic practices that developed in relation to transnational cyberfeminist movements of the 1980s, 1990s, and early 2000s. PRAKASH KRISHNAN is a cultural worker and artist-researcher working in contemporary art education and accessible media research. He studies social media as a form of digital curation and explores their potentials to serve as spaces for digital community archiving, namely for diasporic communities. ANTOINETTE LAFARGE is an artist and writer whose visual work has taken form as computer-mediated performance, programmed installations, and digital prints. Recent books include Sting in the Tale: Art, Hoax, and Provocation (DoppelHouse Press, 2021) and Louise Brigham and the Early History of Sustainable Furniture Design (Palgrave Macmillan 2019). Recent art projects include Deep Earth (2021) and Burning Time (2018). Her writing and artwork have appeared

in Art Journal, Wired, Leonardo, Ada, the Southern Quarterly, the MOSF Journal of Science Fiction, and elsewhere, as well as in anthologies from MIT Press, Oxford University Press, and other international presses. ASHLEY LANNI is a Museum Studies and Archival Management student at the University of Toronto. She has previously worked as an amateur archivist and exhibit researcher at the Concordia Centre for Digital and Oral storytelling and the Montreal Holocaust Museum. Prior to entering the museum and archival world, she studied the ways in which Soviet Russia sold their idea of the Ideal Soviet to the world at global exhibitions. Outside of academia, she focuses on social justice and writing, and hopes to explore the emerging intersection of video games and public education. LUCAS LAROCHELLE is a designer and researcher whose work is concerned with queer and trans digital cultures, community-based archiving, and co-creative media. They are the founder of Queering The Map, a community generated counter-mapping platform that digitally archives queer experience in relation to physical space. TREVA LEGASSIE is a PhD candidate, curator, and artist born and based in Tkaronto, Treaty 13 territory. Her dissertation takes up curation as research-creation through a process led by the “meander.” Legassie’s dissertation tends to the many histories and interlocutors of The Narrows (of the Lower Don Valley, Toronto) as a borderland in Tkaronto’s Indigenous and settler colonial histories. As a curator, her practice values embodied and incidental knowledge and a commitment to Land and its vast complexity. Pullen-Legassie is co-founder of the Curatorial Research-Creation Collective. Her writing has been published in PUBLIC Journal, The Senses & Society, and AlterNative: An International Journal of Indigenous Peoples. She has also curated exhibitions such as Femynynytees (2018), #NATURE (2016) and Influenc(Ed.) Machines (2015) and co-ordinated Cheryl Sim’s YMX: Land and Loss after Mirabel (2017). CAROLE LÉVESQUE is a full professor and the director of the École de design of UQAM. She is also the co-founder of the Bureau d’étude de pratiques indisciplinées (BéPI) and member of the Centre de recherche Cultures-Arts-Sociétés (CELAT). She recently coedited Inventories: Documentation as Project (BéPI, 2021), and published Finding Room in Beirut, Places of the Everyday (Punctum Books, 2019). She holds a PhD in the History and Theory of Architecture and a professional Master’s degree in Architecture. ELINA LEX is an interdisciplinary researcher, media artist, and PhD student in Communication Studies at Concordia University. Her current practice works across virtual reality/extended reality, digital heritage, immersive archival architectures, exploring how emergent technologies might mobilize heritage preservation and presentation practices to increase access, user engagement, and impact with cultural memory material. DANIEL LICHTMAN is an artist, educator and organizer based in NYC. Lichtman’s work in game making, creative computing, performance and video explores how media platforms shape contemporary experiences of trust and solidarity. Lichtman often works with artist and non-artist collaborators, including care-takers of children, activists, members of DIY art communities and students. Lichtman has presented work at the CICA Museum, South Korea; Loosen Art, Rome; BRIC Arts and Media House, The Bronx Museum and The Queens Museum, all in New York; The ICA, London, and other venues. Residencies include SloMoCo (Motion Computing); conferences include iDMAa at Winona State University; Domestic Logic at The New School; SLSA, University of Michigan; and the New Media Caucus Showcase, CAA conference, all in 2021-22. Lichtman earned his MFA at Goldsmiths, London and starting in Fall 2022 will be Visiting Assistant Professor of Digital Studies at Stockton University. MICHAEL LUO is a game maker and artist in the UCLA Game Lab. Born in Ann Arbor, Michigan and growing up in Southwestern China, Michael draws on his

multicultural background to make computer games about diasporas, hallucinations, and other subjects and themes that challenge and transcend the limitations of mainstream gaming. His game projects often embrace confusion and provocation as techniques to undermine traditional conventions and assumptions about games and culture. Michael’s work has been exhibited at CURRENTS: International New Media Festival in Santa Fe, NM; A.MAZE - International Games and Playful Media Festival in Berlin; and the International Electronic Literature Organization. BRANDIE MACDONALD (she/her; Chickasaw/Choctaw) work focuses on systemic change in museums internationally. Currently, she is the Senior Director of Decolonizing Initiatives at the Museum of Us. Her 16 years working in non-profits is based around capacity building through transformative policy, repatriation, and education. In addition to her work at the Museum, she is an active freelance consultant working to support decolonial change in non-profits and museums. She’s also enrolled in an Education Studies Ph.D. program at University of California, San Diego. Her research focuses on the sustainable application of decolonizing praxis in museums that enables transformative change and movement building. She holds a M.Ed. in International Education from Loyola University, Chicago, and a B.A in Applied Anthropology from University of North Carolina, Charlotte. DR. LE THU MACH is a lecturer of journalism and communication at Ho Chi Minh National Academy of Politics (HCMA), Hanoi, Vietnam. She earned a PhD in Journalism from Monash University and gained global media experience in several countries. Her topics of interest include but are not limited to digital media and politics, social movements in Vietnam and Asia, and sustainable development. CHAO TAYIANA MAINA is a Kenyan digital heritage specialist and digital humanities scholar working at the intersection of culture and technology. A computer scientist by profession and a historian by passion, her work focuses on the application of technology in the preservation, engagement and dissemination of African heritage. She is the founder of African Digital Heritage, a co-founder of the Museum of British Colonialism and a co-founder of the Open Restitution Africa project. She holds an MSc International Heritage Visualization (distinction) and a BSc Mathematics and Computer Science. She is a recipient of the Google Anita Borg scholarship for women in technology. JON MCCORMACK is an Australian-based artist and researcher in computing. His research interests include generative art, design and music, evolutionary systems, computer creativity, visualisation, virtual reality, interaction design, physical computing, machine learning, developmental models and physical computing. Jon is the founder and Director of SensiLab and oversees its operations, research programs and partnerships. He is also full Professor of Computer Science at Monash University’s Faculty of Information Technology and currently an ARC Future Fellow. JERROLD MCGRATH is a former program director at the Banff Centre for Arts and Creativity and Artscape Launchpad and currently serves as managing director at UKAI Projects and founder at Ferment AI. He was the program lead for Goethe-Institut Toronto’s two-year Algorithmic Culture series. MARI NAGEM is a multi-disciplinary artist interested in anthropological transformations through technology. She holds an MFA from the Haute École d’Art et Design de Genéve (CH) and currently lives between New York and Belo Horizonte (BR). In 2022 she was awarded the Marcantonio Vilaça Award from the Brazilian National Foundation for the Arts and the Ox-Bow Program Fellowship (US). She has exhibited at Bienal Sur (Argentina), The Wrong Biennale of Digital Art (Brazil) and in institutions and festivals like the Museum of Image and Sound (BR), Sea Foundation (NL), Die Digitale Dusseldorf (GE), Athens Video Art Festival (GR), among others. She has participated in residences in Brazil, Uruguay, and Germany.

NGUYEN THI BAO NGOC is Communication Manager at the Vietnam Fine Arts Museum. She has been pursuing postgraduate study of communication management at Academy of Journalism and Communication, Vietnam. Bao Ngoc is interested in practice-led research for the enhancement of communication management for museums and arts. JENNIFER NICOLL is a Kingston-based museum professional. Since 2007 she has overseen the care of Agnes’s permanent collection in her role as the Collections Manager and coordinated Agnes exhibitions. Previously she worked as the Education Officer at the Woodstock Museum NHS in Woodstock, Ontario as well as holding a number of museum collections positions in Vermont, including a Mellon fellowship in the conservation laboratory at the Shelburne Museum in Shelburne, Vermont. Jennifer has a BAH in Classical Studies from Queen’s University and a diploma in Collections Conservation and Management from Fleming College. KATHARINA NIEMEYER is a media theorist, professor at the School of Media at UQAM and director of CELAT-UQAM (research center Culture-Art-Society). She has been trained in cultural sciences, media archaeology and philosophy at the Bauhaus-Universität Weimar (Germany) and holds a PhD from the University of Geneva, Switzerland. She is a member of the editorial board of the journals Media Art Study and Theory as well as Memory, Mind & Media. LÍVIA NOLASCO-RÓZSÁS has curated exhibitions at institutions of contemporary and media art worldwide since 2006, including at the ZKM | Center for Art and Media (Karlsruhe), Chronus Art Center (Shanghai), Tallinna Kunstihoone, Műcsarnok Budapest, focusing on the constantly changing media of contemporary art and intersections with various disciplines. She has initiated and developed thematic exhibitions raising questions such as the genealogy and social impact of planetary computation and computer code, electronic surveillance and democracy, and synesthetic perception. As of 2019 she has started a research in curatorial studies on the “virtual condition” and its implications in the exhibition space at the Academy of Fine Arts Leipzig, and as acting head of the Beyond Matter project at ZKM, which she initiated. GEORGE OATES is a designer working at the intersection of software, cultural heritage, and philosophy. She is the founder of the Flickr Foundation, a 501(c)(3) nonprofit dedicated to the challenge of preventing Flickr from being deleted. George has worked online since 1996 and enjoyed a great variety of interesting roles like being part of the small team that created Flickr, project lead of Open Library at Internet Archive, and director of design at Stamen. LARISSA PEREIRA and KARYNE BERGER MIERTSCHINK are visual artists and masters’ students at the Federal University of Espírito Santo – Ufes, Brazil. Their research activities are advised by DANIEL HORA, collaborating professor at the same program and one of the leaders of the research group Fresta: Technical Images and Wandering Devices. NADEZHDA POVROZNIK is an Associate Professor at the Department of Interdisciplinary Historical Research, Head of the Center for Digital Humanities at Perm State University, Russia, with more than 15 years of experience in the Digital Humanities field, with a focus on Digital History, Digital Heritage and Virtual Museology. She serves as a member of the Editorial Board of the Journal of Digital History and as a Co-chair and Representative at the International Executive Council of the CenterNet. ABBEY PUSZ is an artist researching different utopian visions, from the first impulses of the digital age to the limited ruptures of BLM 2020 and Occupy Wall Street, to the promise of some kind of “return,” on to the continued presence of the American Dream. Her recent work explores the often-contradictory spiritual desires of today, while foregrounding the radical political demands for a postcapitalist or post-work future. She is co-director of the publishing platform Do Not Research along with creating video art, sculpture and writing. DIEGO ROTMAN is senior lecturer,

researcher, multidisciplinary artist, and curator. His work focuses on performative practices as related to local historiography, museological practices, Yiddish theater, contemporary art, and folklore. Since July 2019 he has been the Head of the Department of Theater Studies at the Hebrew University in Jerusalem. LEA MAUAS is an artist, curator, lecturer and PhD candidate at Queen’s University, Kingston, Canada. In 2000, Rotman and Mauas founded the Sala-Manca Group, which is active in contemporary art, performance and public art. In 2009, they founded the Mamuta Art and Research Center, today based at the Hansen House, Jerusalem, as a center for research, production, and presentation of art. They have co-edited and published books on topics such as Independent art in Jerusalem at the end of the 20th Century and Dzigan and Shumacher’s Satirical Theater. PAULA ROUSH is a Portuguese photographer and educator based in London. Her artistic practice explores mobile strategies of display & mediation (msdm) driven by the intersections of archives, photographic materialities and printed matter. msdm has since 2015 taken the form of a house-studio-gallery with its own imprint, msdm publications. The project, with its serial use of vacant buildings, combines mobile strategies of temporary urbanism with those of contemporary artists’ museums. The msdm project has been shown at the Institute of International Visual Arts and [ Space ] (London); Herbert Read Gallery (Canterbury); Arab Image Foundation (Beirut); Museu da Electricidade (Lisbon); Bauhaus Foundation (Dessau); Living Art Museum (Reykjavik); P74 Gallery (Ljubljana); Sparwasser (Berlin); K3 (Zurich) and Kunsthalle Exerngrass (Vienna). MOHAMMAD SALEMY is an independent Berlin-based artist, critic, and curator from Canada. He holds a BFA from Emily Carr University and an MA in Critical Curatorial Studies from the University of British Columbia. He has shown his works in Ashkal Alwan’s Home Works 7 (Beirut, 2015), Witte de With (Rotterdam, 2015), and Robot Love (Eindhoven, 2018). His writings have been published in e-flux, Flash Art, Third Rail, Brooklyn Rail, Ocula, Arts of the Working Class, and Spike. Salemy’s curatorial experiment For Machine Use Only was included in the 11th edition of Gwangju Biennale (2016). Together with a changing cast, he forms the artist collective Alphabet Collection. Salemy is the Organizer at The New Centre for Research & Practice. He has been the cofounding Organizer of The New Centre since 2014. DAVID SCHMUDDE writes about information and technology in the public interest at Beyond the Frame. He worked as an interdisplinary artist in Chicago and New York City for over a decade while teaching at Stevens Institute of Technology. He has since moved to Europe to work on problems in open science, digital identity, and software preservation. DANUTA SIERHUIS is an arts administrator and museum technologist. She is currently the Digital Development Coordinator at Agnes Etherington Art Centre. Since late 2018, she has coordinated the development of numerous projects, including Agnes’s first digital strategy, a refreshed website design, the expansion of online infrastructures, and the launch of Digital Agnes, an online platform for digital-born programming and research. Her current research interests include co-designing methodologies for institutional practice and designing online interfaces for inclusive, community-centric museum collections and documentation. She holds a master’s degree in Art History and Digital Humanities from Carleton University and a diploma in Interactive Media Management from Algonquin College. DIOGO DE MORAES SILVA is a Brazilian researcher, cultural mediator, and visual artist. As a mediator, he collaborates in the discussions and initiatives of Extra-institutional Mediation. As an artist, he mobilizes languages, media, and networks in favor of a more comprehensive and complex debate on the forms of reception of contemporary art carried out by audiences and counterpublics, including those that confront artistic production. He is a doctoral student

at the Interunits Program in Aesthetics and Art History at the University of São Paulo, where he develops the research “Audiences of the Audiences: Readings of Reception in Visual Arts via Documentary Processes”. Institutionally, he works at Sesc São Paulo, in the area of Studies and Development. diogodemoraes.net SARAH E.K. SMITH is Assistant Professor and Canada Research Chair in Art, Culture and Global Relations, based in the Faculty of Information and Media Studies at Western University. Her research addresses contemporary art and museums, with an interest in how artworks and institutions provide a lens to address cultural diplomacy, labour, and policy. Sarah is a co-founder of the North American Cultural Diplomacy Initiative and member of the Open Art Histories collective. YI SONG was an assistant research fellow at the University of Nottingham Ningbo China and is now a student of MPhil in Film and Screen Studies at the University of Cambridge. Her research interests revolve around films, community museums and media representation. Her previous research focuses on the way transmedia storytelling engages local communities and constructs community museums. She also participated in a project on reconstructing a Chinese museum in the VR environment to resolve travel difficulties during the pandemic. In addition to her academic works, her transmedia project on a Chinese intangible cultural heritage was displayed in an exhibition about the Ningbo Bang community. She is also an amateur film critic. ROBIN STETHEM is founder and CEO at Museum of Other Realities. He is interested in new ways of interacting with information and one another and has been an industrial designer in a past life. SYSTEMKOLLEKTIV is a syndicate of artists and makers with the aim of changing our shared environment through art and technology. HOYEE TSE was originally trained as a social art historian in modern European paintings at UCL and University of Amsterdam. He earned a postgraduate degree with distinction in Museums and Galleries in Education at the Institute of Education of UCL in 2020, with a dissertation focusing on the Rapid Response Collecting approach and contemporary design collections. He continues this research as Design Trust Curatorial Fellow at the Royal College of Art. His fellowship project probes into the potential use of digital platforms as a community-engaged space for co-curating and collecting contemporary local design artefacts. MAGALI UHL is a full professor at the Department of Sociology at UQAM and a member of CELAT. She completed a PhD at Paris Panthéon-Sorbonne on the contributions of phenomenology as a methodology. She is also the head of the “Visual Studies and Methods” group (Association Internationale des Sociologues de Langue Française) and as a member of CIREC (Centre de recherche-création sur les mondes sociaux). She recently published in Visual Studies (2021) and Revue Française des Méthodes Visuelles (2022). ANA VALINE is a Vancouver-based writer, director, and artist whose films have screened and won awards internationally. She is an alumna of the Canadian Film Centre, WIDC at Banff, the TIFF Talent Lab, and Emily Carr University (MFA). From theatre, visual arts and writing to experimental filmmaking, her creative projects have been enhanced by adventurous life experiences including a welder’s apprenticeship on the Alberta pipeline, training horses, tree planting, and a brief stint doing phone sex. Her narrative films have traveled to Spain, Russia, India, Busan, Turkey, Armenia, New York, Iceland, and more, and have been awarded for their tense family relationships and bittersweet dark humor. Her art films have screened at The Polygon Gallery, The Libby Leshgold Gallery, Paneficio Gallery in Vancouver, and Modern Fuel in Kingston. Ana is currently writing her third feature screenplay and has completed her first year of PhD studies in Film & Media at Queen’s University. VELCRO EDICIONES is an editorial platform for intuitive graphic games in which Luis

and Mai meet to address their most spontaneous concerns using time and space. From photobooks to book-objects, they begin to diagram new projects with nimble and free ideas which have been kept for a long time. Velcro is an editorial purr! velcroediciones.com KARIN DE WILD is an Assistant Professor in contemporary museums and collections studies at Leiden University, the Netherlands. Her research involves digital collections and the history of museums on the Web. She is board member of the Henri van der Waal foundation (research network for digital art history) and a Co-chair at WARCnet (research network for Web ARChive studies). Together with Ross Parry (Leicester University, UK) and Vince Dziekan (Monash University, AU), she is co-editing the book Museums and Digital Confidence (Routledge 2022). SU-ANNE YEO, PHD , is a scholar, educator, and independent programmer and curator. Currently based in Vancouver, she teaches at the University of British Columbia where she is also a faculty associate of the Hong Kong Studies Initiative. Her research and teaching focus on the interface between social movements and independent screen cultures, and her published work on Asian diasporic cultural production, Hong Kong cinema, and visual cultures in the gallery and museum has appeared in various edited collections and exhibition catalogues. She is currently working on a monograph based on the doctoral research she completed at Goldsmiths, University of London, entitled, Alternative Screen Cultures in Asia Pacific. ZENTRUM FÜR NETZKUNST (Center for Net Art) reconstructs, maintains and preserves net art and net culture by researching, archiving and contextualizing net art. Association members include !mediengruppe bitnik, Tereza Havlíková, Paloma Oliveira, Anneliese Ostertag, Tabea Rossol, Robert Sakrowski, and Cornelia Sollfrank.

MUSEUMS WIHOUT WALLS 6444202255555344 5864 4655566ISABEL BADER CENTRE88764854 566244 5654555QUEEN’S UNIVERSITY444KINGSTON44ON 5645422223234343244443333334432545434445 542222223345755CONFERENCE645AUGUST 22-22 522322244545455EXHIBITION322AUGUST 22-22 6312133433565655222222222355411124232254 COORDINATION AND PRODUCTION8899411122224 4212123GABRIEL MENOTTI888888998881111114 SCIENTIFIC COMMITTEE88788888889897211113 4332122SOJUNG BAHN877 GABRIEL BEVILACQUA1 4311111JENNIFER KENNEDY26888889888772611 6112211GABRIEL MENOTTI522376888788873111 4212222GERMAN ALFONSO NUNEZ 7885422326102 5112222DANUTA SIERHUIS332225FAN WU334331 RESEARCH ASSISTANT4245328466998224655122 5121366FAN WU999887656779888798753354124 EXHIBITION ASSISTANT77787888789882432136 5212233GHY CHEUNG88888988898987786433234 DESIGN4366666667888889888733233228783124 5226366WERLLEN CASTRO9981242321288754344 DOCUMENTATION667777658888888822347786244 4233566JUNG-AH KIM6788878882214268767344 VOLUNTEERS666556667667863221122277666244 4456555DEVON BELAMY54766CANDICE FU665344 4154666SPENCER KONG44455CRYSTAL QIAN5444 4246566YUTING SHEN7766677583236566444435 ACKNOWLEDGEMENTS556676778788768534543455 4564455DENISE ARSENAULT47454773544544555 4546455ALICIA BOUTILIER33323343454553454 4666655EMILIE CHHANGUR334444GEOFF COX544 4967655FLORA GURGEL66555SCOTT MACKENZIE4 4998555ADAM MADOJEMU5455CAMERON MILLER35 4999988NICHOLAS MOSEY 444DORIT NAAMAN3454 4989988JENNIFER NORTON000111144433454444 4898988STÉPHANIE ROMON000011435544544444 4989999MELISSA SHUMAKER40013557546454444 Support Social Sciences and Humanities Research Council - SSHRC/CRSH Queen’s University - Office of the Provost and Vice-Principal/Brockington Visitorship Queen’s University - Office of the Vice Principal Research/Wicked Ideas Program Queen’s University - Faculty of Arts & Sciences/Conference Fund Queen’s University - Faculty of Arts & Sciences/Funding for Globally-Engaged Research Collaborations Agnes Etherington Art Centre Modern Fuel Artist-Run Centre

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ISBN 978-1-7782664-1-6

Figures by page

Museum of Other Realities

The Stolen Art Gallery Pippin Barr

Estudo de Nu Dario Villares Barbosa

40-41

The Zium Gallery The Zium Society

Double Truth (2021) by Sarah Kenderdine, Deep Fakes: Art and its double, EPFL Pavilions. Photo: Catherine Leutenegger

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House-Studio-Gallery paula roush & msdm

The Stolen Art Gallery Pippin Barr

Installation view of Transformations, a site-specific commission at Agnes Etherington Art Centre. Photo: Jay Middaugh