New Media Museums

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 Together with exonemo and the YCAM team (coordinated by curator Kazuhiko Yoshizaki), thanks to special support from the Japan Foundation, we prepared a regional iteration of the show by arranging the burial chambers inside a gallery at the WRO Art Center, the entrance to which resembled a path leading to a burial mound with walls made of clay and straw. In such a setting, we decided to exhibit several dead artworks from the original exonemo selection (Koichiro Eto, Masaki Fujihata, Rafael Lozano-Hemmer, Nao Tokui) together with works by Piotr Wyrzykowski, Anna Plotnicka, Gameboyzz Orchestra Project, and Lukasz Szalankiewicz (aka Zenial) that have been created/produced/presented by WRO in the past. Together with exonemo and the YCAM team (coordinated by curator Kazuhiko Yoshizaki), thanks to special support from the Japan Foundation, we prepared a regional iteration of the show by arranging the burial chambers inside a gallery at the WRO Art Center, the entrance to which resembled a path leading to a burial mound with walls made of clay and straw. In such a setting, we decided to exhibit several dead artworks from the original exonemo selection (Koichiro Eto, Masaki Fujihata, Rafael Lozano-Hemmer, Nao Tokui) together with works by Piotr Wyrzykowski, Anna Plotnicka, Gameboyzz Orchestra Project, and Lukasz Szalankiewicz (aka Zenial) that have been created/produced/presented by WRO in the past.
  
-In keeping with the original concept, which paid special tribute to Nam June Paik (two special grave chambers for Paik's dead artworks from the collection of the Nam June Paik Art Center in Seoul), we were also able to show two unique remains of his works from the private collection of Paik's former student and technical assistant. One of these two corpses was a CRT television screen recording from an installation of //Zen for TV// in 1976. Paik then made it on site for an exhibition at Kunsthal Charlottenborg in Copenhagen. Parts of the old TV were replaced in 2001-2002, according to the artist's instructions, when another CRT set was placed in the original Danish case to play the recording. Later, this version of //Zen for TV// was acquired to the collection of the Smithsonian American Art Museum.+In keeping with the original concept, which paid special tribute to Nam June Paik (two special burial chambers for Paik's dead works from the collection of the Nam June Paik Art Center in Seoul), we were also able to show two unique remains of his works from the private collection of Paik's former student and technical assistant. One of these was a CRT television screen recording from an installation of //Zen for TV// in 1976. Paik then made it on site for an exhibition at Kunsthal Charlottenborg in Copenhagen. Parts of the old television were replaced in 2001-2002, according to the artist's instructions, when another CRT was placed in the original Danish case to play the recording. This version of //Zen for TV// was later acquired by the Smithsonian American Art Museum.
  
 An important element of the exhibition was a Wrocław-specific audio guide, which explained the various reasons why the objects on display - traces of past artworks - had become dead, without losing the meanings they had accumulated over time. This curatorial commentary provided insight into the more universal aspects of media art history, while a series of video interviews with Polish artists allowed reflection on the life and death of time-based art. These interviews were displayed within the burial mound of the RoMA exhibition and can still be viewed on the WRO's Vimeo channel, adding further layers of meaning to the - seemingly dead - artworks, keeping their essence active despite the passage of time. An important element of the exhibition was a Wrocław-specific audio guide, which explained the various reasons why the objects on display - traces of past artworks - had become dead, without losing the meanings they had accumulated over time. This curatorial commentary provided insight into the more universal aspects of media art history, while a series of video interviews with Polish artists allowed reflection on the life and death of time-based art. These interviews were displayed within the burial mound of the RoMA exhibition and can still be viewed on the WRO's Vimeo channel, adding further layers of meaning to the - seemingly dead - artworks, keeping their essence active despite the passage of time.