New Media Museums

Dušan Barok is an artist, researcher and organiser. He is founding editor of the Monoskop research platform for the arts and humanities. Dušan Barok graduated in Information Technology from the University of Economics in Bratislava and Networked Media from the Piet Zwart Institute in Rotterdam. He worked as Research Fellow at the Amsterdam School for Heritage, Memory and Material Culture, University of Amsterdam, where he focused on the history and preservation of contemporary art as part of the program New Approaches in the Conservation of Contemporary Art (NACCA). He initiated and, together with Jakub Frank, served as coordinator of the project New Media Museums, bringing together art museums and initiatives in Central Europe in developing new approaches to collecting and preserving contemporary art.

Zuzana Bauerová is an art historian and painting conservator-restorer. She graduated in Art History at Comenius University in Bratislava (1999) and Painting Restoration at Fine Arts University (1999). She also completed postgraduate studies in Conservation Management at Academia Istropolitana Nova (2000). She received her PhD in Theory and History of Art from the Faculty of Arts at Masaryk University in Brno (2009). Zuzana Bauerová is a lecturer at the Academy of Arts and Crafts in Prague, where she is also part of the team preparing a new study programme Conservation-Restoration of Arts and Crafts. She is a researcher at the Národní filmový archiv, Prague, where she works on setting up mechanisms for preventive care of the institution's collection. At the same time, for more than 15 years she has been working on projects in the field of preservation, conservation and use of cultural heritage.

Jina Chang is time-based media art conservator at the Nasjonalmuseet, Norway. Initially trained as a media artist (photography at Pratt Institute (BFA) and Studio Art at the University of New Mexico (MFA)), she taught New Media and Video Art at the University of Rochester and Brown University. Upon graduating from the Object Conservation program at the University of Oslo (MA), she conducted a 2-year project surveying, documenting, and devising comprehensive preservation plans for the installation artworks in Nasjonalmuseet’s collection. Since 2018, she has been hired full-time, working exclusively with the museum’s time-based media and digital art collections. She specializes in the conservation and documentation of time-based media and digital artworks and is interested in the topics of philosophy and cultural studies of conservation. 

Michal Čudrnák is Head of Digital Collections and Services at Slovak National Gallery (SNG). He took an active part in transitioning the gallery into the digital realm – from cataloguing of works of art, to digitisation, development of online catalogue of Slovak art galleries and several other websites. Currently, he is working also at the Slovak Design Centre/Slovak Design Museum, setting up a new collection management system and making the collections visible online. Michal graduated in library studies from the Philosophical Faculty of the Comenius University in Bratislava. He was a member of the BURUNDI media lab in Bratislava and co-founded Itchy bit and 13m3 collectives.

Márta Czene is a painter and visual artist. She studied art history at the ELTE University of Sciences and painting at the Hungarian University of Fine Arts (2008). Márta Czene was awarded the Barcsay Prize in 2004, the Derkovits Scholarship in 2009 and the Strabag Artaward International in 2011. She has had numerous solo and group exhibitions. She lives and works in Budapest. https://www.czenemarta.hu/

Dagmara Domagała is a member of the WRO Art Centre programme team, an author, researcher and art guide. She works with archives, both analogue and digital, digitises tapes and carries out educational work in the WRO Archives and Media Library. She was involved in the production of the television series Kody WRO (WRO Codes); co-created the popular Tapes: Rewind screenings; co-edited text and audiovisual content for the WIDOK (VIEW) series and the anniversary publication Rezonans (Resonance); and curated video programme for the WRO 2021 REVERSO Biennial. Dagmara Domagała is also a project coordinator and exhibition producer. She is currently working on strategies for popularizing digital content.

Kateřina Drajsajtlová is a member of the 4AM association. She graduated in Theory of Interactive Media from the Faculty of Arts MUNI, Brno. She has experience with databases from the Moravian Land Archive and the Moravian Gallery in Brno. She is working on an archival project focused on the inventory base for the Vasulka Kitchen in Brno.

Jakub Frank is a curator, theorist and art historian. He is a curator at the Olomouc Museum of Art, Olomouc, and editor-in-chief of its Central European Art Database project. He holds an MA in Art Theory and History from the Palacky University, Olomouc. Previously, he worked as PR and communication manager at the Plato gallery in Ostrava. Jakub Frank also works as curator at Cella Gallery and Hovorny as well as the festivals Luhovaný Vincent and Kukačka, a festival of art in public space in Olomouc. He is a member of the Bludný kámen association in Opava and the 8848 collective in Olomouc.

Márk Fridvalszki graduated from the Academy of Fine Arts in Vienna in 2011 and was a postgraduate Meisterschüler student at the Academy of Fine Arts in Leipzig (2014-2017). Fridvalszki is co-initiator and graphic editor of the art collective and publishing project Technologie und das Unheimliche or T+U (since 2014). He has participated in various exhibitions and art events, including The Július Koller Society w/ T+U, the 34th Ljubljana Biennial of Graphic Arts, Kunstverein am Rosa-Luxemburg-Platz in Berlin, Kunstraum Lakeside in Klagenfurt, Kunsthalle Exnergasse in Vienna, Karlin Studios and Meetfactory in Prague. Born in Budapest, he lives and works in Berlin. http://markfridvalszki.com

Jitka Hlaváčková is a theorist working at the Prague City Gallery (since 2006), where she is the curator of the Photography and New Media Collection. She focuses on post-media art theory reflecting the technological context of contemporary life and on current strategies of urban and environmental art in relation to social, gender and community issues. She has produced over thirty exhibition projects/catalogues, including Sounds/Codes/Images - Audio Experimentation in the Visual Arts (2019) and Divination from a Night Sky… The Role of Photography in the Post-Media Age (2022). In addition, she is the curator of the Start-up series for emerging artists and the Projector online video art gallery; co-curator of m3 - Art in Space festival (2021) and the Re-connect Art Festival (2022); and organiser of symposia such as Gestures of Emancipation (2021). She graduated from the Faculty of Arts of Charles University, Prague, with an MA and a PhD in Art History.

Michal Klodner works in the field of audiovisual live performances and independent film. He worked as an assistant at FAMU in Prague and completed his PhD studies on postmediality. At the Národní filmový archiv, Prague, he is involved in digital curation, cataloguing systems, digital archiving and research in the field of documentation, presentation and analysis of moving images.

Agnieszka Kubicka-Dzieduszycka is a media art curator and cultural project manager. From 2011-2022 she taught curatorial projects and art mediation at the Academy of Fine Arts and Design in Wrocław. Since 1995 she has co-created the WRO Media Art Biennale and the WRO Art Centre programme. Her recent curatorial contributions include exhibitions and art projects realized in Ukraine, Japan and Germany, where she has curated the POCHEN Biennale 2022 in Chemnitz. Her continuous work with Japanese media artists includes the Sapporo International Art Festival SIAF 2020, for which she served as Curatorial Director of Media Art. In 2022 she started a collaboration with the European Capital of Culture Chemnitz 2025, where she directs one of the flagship projects.

Barbora Kundračíková is an assistant professor at the Department of Art History at Palacký University in Olomouc. Since 2019, she has also been the Head of Modern Art Collections at the Museum of Art Olomouc - Central European Forum (SEFO). She collaborates with the Photography Research Centre at the Institute of Art History of the CAS in Prague (internally 2018-2020) and works as a freelance curator (MGLC Ljubljana, Fait Gallery, Trafo Gallery, etc.). Her areas of interest include 20th and 21st century European visual art, mechanical representations (photography, printmaking), art history methodology and analytical aesthetics.

Marie Meixner is a PhD candidate at the Department of Art Education of the Palacký University, Olomouc. She is a programme and media manager of the annual PAF Festival in Olomouc. She graduated in English Philology, Film Studies and Communication Studies from the Palacký University, Olomouc. Her long-term research and curatorial activities are focussed on the communication and interpretation strategies of internet art. She also specialises in the history and theory of moving image and animation in the broad sense, especially in the relation to digital art and the audience. She is one of the curators at Screen Saver Gallery and the editor of the experimental film section of the 25fps film magazine. She works as an internet and conceptual artist under her moniker © merry.

Sonia Milewska is an art conservator and media art researcher. She holds a degree in the Preservation of Cultural Heritage from Jagiellonian University and a degree in Conservation and Restoration of Works of Art from the Academy of Fine Arts in Krakow, where the subject of her diploma thesis was the restoration of E. Ihnatowicz's cybernetic sculpture Senster. She is currently working on issues related to the history and preservation of media art within the MediaArtsCultures program. She is interested in new technologies, living archives, media art and its conservation.

Sylva Poláková works as a film historian, audiovisual curator and archivist at the Národní filmový archiv, Prague. Her main focus is experimental film and the moving image in an interdisciplinary perspective. She graduated in Film Studies at the Faculty of Arts, Charles University in Prague. Since 2020 she has been leading the research project Audiovisual work outside the context of cinema: documentation, archiving and access. She is engaged in lecturing and curatorial activities and contributes to specialised publications, mainly with profiles and interviews with Czech artists working with the moving image.

Anna Schäffler is an art historian and curator. Her research on the contemporary preservation of art and cultural assets includes theory and practice at the intersection of art history, conservation, and curating. Recent projects, lectures, publications, and teaching assignments have been particularly devoted to the possibilities of communicating and making visible practices of contemporary art preservation. In addition to artistic estates, another focus of Anna Schäffler's interests is on public welfare and commons in the context of art, activism, and urban development. She advises artists, private and public institutions on long-term preservation and initiated various projects to experimentally test new formats of preserving artistic legacies between public memory institutions and private and civil society actors. https://www.annaschaeffler.info/

Morgane Stricot is a senior media and digital art conservator at ZKM Center for Art and Media, Karlsruhe, Germany. She received her PhD from PAMAL (Preservation & Art – Media Archaeology Lab) with a project on the methods and limits of media archaeology as a preservation theory. She studied the preservation of complex digital objects during her MA in Conservation of Media and Digital Art at Ecole Supérieure d’Art d’Avignon, France, and in her fellowship at the Still Water Lab in the New Media Department of the University of Maine, USA. She won the Leonardo award at The Emerging Researchers’ Symposium Media Art Histories ReCreate, in 2015.

Matěj Strnad is an audiovisual archivist and curator. He heads the Curators Department of the Národní filmový archiv, Prague, and also serves as the head of the Programming and Access to Collections Commission of the International Federation of Film Archives (FIAF). He graduated from the Centre for Audiovisual Studies at FAMU. Since 2012, he has been working on practical and policy issues related to the preservation of media-based and moving image artworks in Czechia - hosting roundtables, lecturing, providing external assessments of collections and drafting policy documents.

Anna Tüdős holds an MLitt degree in Curatorial Practice (Contemporary Art) from Glasgow School of Art and a BA in Cultural Management and Art Theory from the Hungarian University of Fine Arts. She is a motivated curator with a passion for collaborative practices. She is a member of two collectives, BÜRO imaginaire and Roundabout. Her main research interests include the relationship between humans and public space (with a special focus on playground architecture), as well as the impact of technological developments on society and their implications for health sector and climate change. She has been working with the C3 Foundation on various projects since 2018. http://www.annatudos.com/

Petr Válek is a musician and instrument maker. He lives and works in Loučná nad Desnou near Šumperk, Czech Republic. the VAPE Youtube channel

Aga Wielocha is a researcher and collection care professional specialising in contemporary art. She is a postdoctoral fellow in the “Activating Fluxus” research project at the Bern University of Arts. She received her PhD from the University of Amsterdam with a project carried out within the New Approaches in the Conservation of Contemporary Art (NACCA) program, and focusing on the lives and futures of contemporary art in institutional collections. From 2019 to 2022, she worked as a conservator at M+ Museum Hong Kong. Prior to her doctoral studies, Aga Wielocha served as a conservator at the Museum of Modern Art in Warsaw. Her research interest lies in mechanisms and processes of institutional collecting and preservation, with a focus on processual formats of contemporary art formats such as art projects, participatory art and performance.