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Faintly, reflected on the chrome surfaces of First Digitalizations of Museological Artefacts: Scan Eyes, 2015 is a CGI crowd—running as the objects rotate.The strange arrangement of objects that result from these digital collections makes the otherwise oblique comparison with first European private collections called Cabinets of Curiosities possible.Under dialogen, i vilken båda parter har allt att vinna eller förlora, uppstår en stark relation som innefattar både intima förtroenden och kalkylerande maktspel.

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Allihop rör de sig längs samma centrumbälte, där repetition, rutiner, och sorgearbete berättar om vardagens lunk i Tensta. Vittnesseminarium: Sverige i solidaritet med Chile och Palestina med bl a Sonja Martinson, Björn Springfeldt, Bitte Alling-Ode och Eva Zetterberg.

Som en del av symposiet Excavating International Solidarity: Artist Actions, Museography and Exhibition Histories av Kristine Khouri och Rasha Salti.

Major western museums have begun a second wave of digitization of their collections.

After creating comprehensive entries of their collections on their websites, often making photographs of these available for public viewing, this second phase re-presents the three-dimensionality of their cataloged objects.

Bound by website’s terms of services, museums’ attempt at securing representations of their collections as both forms of revenue and sublimation of public access, what other forms of objecthood are these files proposing?