MuseumDigit 2021

November 23-24.




MuseumDigit 2021

23-24 November




MuseumDigit 2021

We are still working out the details, but you can check out our highlights below.

Recover and Reimagine: museum directors on changemaking, innovation and resilience

director of museum and exhibitions, Institut du Monde Arabe, Paris and former director of the Montréal Museum of Fine Arts

French and Canadian Nathalie Bondil has been director of the museum and exhibitions at the Institut du Monde Arabe (IMA) in Paris since 2021, where she is responsible for designing the museum, whose collections have been strengthened by the major donation from Claude and France Lemand in 2018. Planned for 2024, this “New IMA Museum” will be unique in Europe, essential for the recognition of Arab fine arts and their intercultural, plural and fruitful dialogues.

An internationally recognized curator, art historian and museologist, she worked on the renovation of the Musée des Monuments français (now the Cité de l’architecture) in Paris. As head of the Montreal Museum of Fine Arts from 2007 to 2020, she added two new pavilions. She has developed multidisciplinary programming by adding a concert hall and a cinema, and directed numerous exhibitions at the intersection of art and music, science, sewing and film. Her intercultural work is being hailed with the inauguration of the Wing for the Arts of One World (One-World Wing) in November 2019.

Author of a Manifesto for a Humanist Museum, she is very committed to educational action, health, inclusion, diversity and living together.  She is “sage in residence” at the University of Montreal (2021-2024) and leads a seminar at the École du Louvre in Paris on her pioneering concept of “museotherapy” (2022).

Vice Chair of the Canada Council for the Arts from 2014-2021, she has received numerous honors and honorary doctorates. In 2020, she received awards for international outreach from the International Council of Museums (ICOM) of Canada and for innovation from the Canadian Museums Association.

director of  MAH Musée d’art et d’histoire, Geneva 

Swiss-born Marc-Olivier Wahler is an international museum director, curator, and writer. He is the current director of the MAH Musée d’art et d’histoire in Geneva.  He is the former director of the MSU Broad Museum at Michigan State University (East Lansing, 2016-2019), former director of Palais de Tokyo (Paris, 2006-2012), former director of Swiss Institute (New York, 2000-2006), founding director of CAN (Neuchâtel, 1995-2000), founding editor of PALAIS / Magazine, and co-founder of the Tokyo Art Club (Paris). 

As director of the MSU Broad museum he organized around 30 exhibitions a year, among them solo presentations of seminal figures such as Mike Kelley, Jim Shaw, David Lamelas, and Michel Parmentier. He founded a new project: the Art Lab, a collaborative and community-oriented venue.

He also founded in 2012 the Chalet Society, producing contemporary art exhibitions in a former school building in central Paris, including outsider artists, young emerging artists as well as international stars.

Wahler’s tenure at the Palais de Tokyo proves his ability to bring a nascent art institution to international relevance in original, innovative exhibitions with emerging artists. His directorship was so successful that the French state incorporated the museum into the national system. His international campaign and program innovations made Palais de Tokyo the “number one reason to come to France,” according to Wallpaper Magazine (2009) and “the coolest museum in Paris” according to T: New York Times Style Magazine (2009).

During the last 25 years, Marc-Olivier Wahler has organized over 400 exhibitions – principally as museum director / chief curator, but also as a freelance curator. As a writer and art critic, Marc-Olivier Wahler regularly writes on contemporary art in international magazines and academic books. His most renowned publication is the art encyclopedia From Yodeling to Quantum Physics in 5 volumes. His last book “The Transported Man” explores the notion of belief in magic and contemporary art. 

In 2011, he was decorated as a Chevalier in the French Republic’s Order of Arts and Letters. In 2013, Wahler was awarded the Meret Oppenheim Prize, Switzerland’s highest cultural award in the contemporary arts.

director of Semmelweis Medical History Museum, Budapest

Digital and Multimedia Pioneers

curator, digital shaper, professor of Digital Museology at the École polytechnique fédérale de Lausanne (EPFL), head of Laboratory for Experimental Museology (eM+)

Professor Sarah Kenderdine researches at the forefront of interactive and immersive experiences for galleries, libraries, archives and museums. In widely exhibited installation works, 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 and received a number of major international awards for this work. 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, visual analytics, digital aesthetics and cultural (big) data. eM+ engages in research from scientific, artistic and humanistic perspectives and promotes a post-cinematic multisensory engagement using experimental platforms.  Since 2017 Sarah is director and lead curator of EPFL Pavilions a new art/science initiative housed in a seminal Kengo Kumar building inaugurated in late 2016 (formerly known as ArtLab).  EPFL Pavilions blends experimental curatorship and contemporary aesthetics with open science, digital humanism and emerging technologies. In 2021, Sarah was appointed corresponding fellow of The British Academy. In 2020, she was named in the Museum Influencer List 2020 – The Power 10 by Blooloop and, Switzerland’s Top Digital Shapers 100 by Bilanz.

In 2021, she curates and produces three major exhibitions:

Buddhist Maritime Silk Road, Fo Guan Shan Monastery, Taiwan (a permanent exhibition)

The Atlas of Maritime Buddhism, Indra and Harry Banga Gallery, Hong Kong

Deep Fakes: Art and Its Double, EPFL Pavilions, Switzerland

professor of practice at Aalto University, Finland
What can digital businesses teach cultural institutions? Risto presents in a nutshell what are the big discussions in the business world when it comes to responding to changes, embracing uncertainty, and creating a company culture. In the past decades, so-called digital companies have thrived, and many traditional businesses have adapted and adopted ways of working and organising from these “agile and lean” digital organisations. One of the lessons learned has been that to succeed in a digital world, organisations must have a creative, responsive, and autonomous organisation cultures – perhaps something that cultural institutions have always had? Another major theme is how to sincerely embed societal values into companies’ missions and activities. Again something that cultural institutions often are really good at. How to bridge the mental and physical gap between these two worlds: business and culture? Where is the common ground where both can learn from each other?

Risto Sarvas is a professor of practice at Aalto University, Finland. He is in charge of of a bachelor’s and master’s programs that create societally and ethically conscious engineers who shape the societies we live in. Before heading these programs Risto spent almost a decade as a design leader and a management consultant. Before his expedition to the commercial world Risto did his doctorate on consumer photography and during his post-doc years he was the leader of a multi-disciplinary research group on social media. Risto has co-authored the book From Snapshots to Social Media (Springer 2010) and also co-curated the #Snapshot exhibition with the Finnish Museum of Photography in 2014. Since 2020 Risto has been one of the professors in Aalto University’s Executive Education’s “Business of Culture” leadership program for Nordic cultural institutions.

General Manager of the Grand Palais Immersif

Roei Amit is the General Manager of the Grand Palais Immersif (La Réunion des musées nationaux-Grand Palais group) in Paris, dedicated to the production and distribution of digital exhibitions. Roei is an expert in digital innovation and development and has a Ph.D in Social Sciences.

digital humanist, research fellow at Università di Torino 

According to surveys and analysis conducted by international organizations as ICOM, NEMO and UNESCO, due the forced closure of museums online activities have increased and institutions have developed new systems, projects, and initiatives to involve the public remotely and to be more inclusive. The talk will highlight how museums interact online with their audience, how they monitor these experiences and which kind of data licence they apply to their collections.

Anna Maria collaborates with the GLAM institutions, European projects such as SPICE and Integrity Pacts. She is also the coordinator of the Help project. Her main research and professional domains are digital transformation, communication, inclusion and open data. She coordinates the ICOM Italy Digital Technology committee and AVICOM ICOM board member

BtC business unit director of the Netherland’s national media archive and museum 

How did a traditional Dutch media museum transform itself into a multiplatform storyteller? Beeld en Geluid (The Institute for Sound and Vision) is the national media-archive and media museum of the Netherlands. Starting from the strategic believe that a modern museum should be a multi-platform storyteller, a variety of online platforms was built. Organizational changes were made to allow for fast-track content production. During the pandemic, the institute benefitted greatly from these investments . Online following boomed, younger audiences were reached and the brand was uplifted. The digital transformation gives the institute also a structural advantage in engaging with customer groups beyond the museum floor in the years to come. The presentation outlines the strategic framwork, the online innovations, the content strategy and the results of the transformation of the museum into a multi-platform storyteller. 

Dr. Martin Laar is the BtC business unit director of the Netherland’s Institute for Sound and Vision. He has an extensive marketing and product development background in the corporate world and holds a PhD in marketing strategy and innovation. He was a strategy and entrepreneurship consultant in the cultural sector for several years. He joined the Institute for Sound and Vision 6 years ago as head of marketing and communications before taking up position in the board in 2018. 

head of Department, Hungarian National Museum – National Centre of Museological Methodology and Information

Ildikó Sz. Fejes graduated from Eötvös Lóránt University with majors in History and Archaeology. Later, she earned postgraduate degree in European Affairs and a credential in Arts and Business Management. She has more than 25 years experience at the Hungarian National Museum, including database developement, internet amd multimedia content developement, ane EU projects.

Since 2011, she heads the National Centre of Museological Methodology and Information (OMMIK). She has been an AVICOM board member since 2016.

Museums and Social Impact: museum directors on inclusion, placemaking and the social responsibility of museums

director of Pinacoteca di Brera and Biblioteca Braidense, Milan

This talk looks at the consequences of the COVID pandemic, and attempts to learn lessons from it to help museums increase their economic an cultural resilience. The work at Brera allows us to explore a worked example of one possible answer to the challenges of the post-COVID world.

James M. Bradburne is an Anglo-Canadian architect, designer and museologist who has designed world exhibition pavilions, science centres and international art exhibitions. Educated in Canada and England, he holds a degree in architecture from the Architectural Association and a doctorate in museology from the University of Amsterdam. Over the past twenty years he has carried out exhibitions, research projects and conferences on behalf of UNESCO, national governments, private foundations and museums in various parts of the world. From 2006 to March 2015 he was Director General of the Fondazione Palazzo Strozzi, dedicating himself to transforming the Palazzo into a dynamic cultural centre. He is now Director General of the Pinacoteca di Brera and the Braidense National Library.

director of Louvre Lens

Born in 1969, Marie Lavandier is curator, director of the Louvre-Lens museum since September 2016.

Her career, at the head of both national and territorial establishments and services, demonstrates an interest in transversal and interdisciplinary approaches to heritage, as well as a desire for openness and transparency in cultural institutions.

Art historian and anthropologist by training, she holds a DEA in 20th century art history and wrote her dissertation on the polyptychs by Pierre Soulages. She began her career in 1995 as curator of the Dreux Museum of Art and History. The museum’s policy focused on the urban history of the city, in particular on the suburban districts. She was director of the President Jacques Chirac Museum in Sarran (Corrèze), devoted to the official gifts received by the head of state. From 2000 to 2006, she coordinated its construction, launch and expansion.

Marie Lavandier was then deputy director of heritage and collections at the Quai Branly Museum, Paris, where she coordinated the initial inventory and the decennial inventory of the collections (300,000 works). She also created a visible reserve there and designed a ’muséothèque’, a unique service for consulting non-exhibited collections. Between 2010 and 2014, she was entrusted with the management of the Centre for Research and Restoration of Museums of France (C2RMF) whose influence she promoted by making it part of national and international research networks and projects. With the Louvre, she worked to establish a policy of transparency in the restoration of the museum’s masterpieces, notably on the occasion of the restoration of paintings by Rembrandt and Leonardo da Vinci.

From 2014 until her arrival at the Louvre-Lens museum, she directed the museums of the City of Nice, i.e. 10 establishments labeled Museums of France, including MAMAC, Musée Matisse, Musée des Beaux-Arts Jules Chéret, Musée d’archéologie and Musée Masséna.

Marie Lavandier is the author of numerous publications: on the representation of power (La table à Élysée), official receptions of French presidents since the Third Republic (2005), the restoration of works of art, as well as the art of the twentieth century, like that about Charlotte Salomon, Life? or Theatre? (2016). She was the publishing director of the journal Technè – science at the service of the history of art and civilizations, edited by the Réunion des Musées Nationaux, from 2010 to 2014.

director of Whitworth and Manchester Art Gallery


Alistair Hudson was appointed Director of the Whitworth and Manchester Art Gallery in February 2018.

Prior to his move to Manchester Alistair was Director of Middlesbrough Institute of Modern Art where his vision was based on the concept of the Useful Museum. In the preceding ten years he was Deputy Director of Grizedale Arts which gained critical acclaim for its radical approaches to working with artists and communities, based on the idea that art should be useful and not just an object of contemplation.

Alistair is co-director of the Asociación de Arte Útil with Tania Bruguera – an expansive international project and online archive that forms part of the Uses of Art programmes with the L’internationale confederation.

Museums and Sustainability

founder of Curating Tomorrow, consultant on museums, SDGs, climate, biodiversity, futures 

Many people are concerned about sustainability, or even worried. How can we clarify our intentions and make concrete plans to turn concerns into daily actions? This talk will outline the aims of Agenda 2030 and the Sustainable Development Goals, and show how these can be used practically on a daily basis and across all museum activities. The talk will explore Museums and Sustainable Development Goals, published in 2019, and a new publication Mainstreaming the Sustainable Development Goals, to help museums, as well as galleries, libraries and archives, to plan, deliver, evaluate and communicate their actions for a better future.

Henry McGhie has a background as an ecologist, museum curator and manager. He set up Curating Tomorrow in 2019 to help museums and similar organisations enhance their contributions to sustainable development agendas, including the SDGs, climate action, biodiversity conservation, disaster risk reduction and human rights. He is a member of the ICOM Sustainability Working Group.

professor of Heritage Studies at the UCL Institute of Archaeology, University College London

What would it take for museums to become catalysts for radical climate action? This talk draws on work undertaken as part of a collaborative research project, design competition and exhibition developed for the 2021 UN Climate Change Conference (COP26) held in Glasgow this year, which aims to inspire radical change in museums to address the climate emergency, introducing its key findings and outputs. We argue that museums have a vital role to play in shaping more just and sustainable futures for people and the planet, but to do so requires them not only to rethink and reckon with their histories and their own implication in the climate and extinction crises, but also to reimagine their roles in society, their relationships with their publics, and their futures.

Rodney Harrison is Professor of Heritage Studies at the UCL Institute of Archaeology, University College London. From 2017 – 2021 he was Arts and Humanities Research Council (AHRC) Heritage Priority Area Leadership Fellow, and from 2015 – 2019 he was Principal Investigator of the AHRC-funded Heritage Futures Research Programme. He is a joint Director of the UCL Centre for Critical Heritage Studies and the founding editor of the Journal of Contemporary Archaeology. 

He is the (co)author or (co)editor of around 20 books and guest edited journal volumes and almost 100 peer reviewed journal articles and book chapters, some of which have been translated into Chinese, Italian, Polish and Portuguese language versions. In addition to the AHRC his research has been funded by the Global Challenges Research Fund, British Academy, Wenner-Gren Foundation, Australian Research Council, Australian Institute of Aboriginal and Torres Strait Islander Studies and the European Commission. With Colin Sterling (UvA), he is project co-lead of Reimagining Museums for Climate Action.

Museums and Creative Collabs

graphic artist, artistic director of The Parisianer project

The Parisianer is a project in which artists bring their visions of Paris through the covers of an imaginary magazine, in the likeness of The New Yorker front page designs. And what do you get when you mix the poetic, funny, smart and captivating works of The Parisianer and the fascinating story of one of Paris’s oldest museum, the Musée national de l’Histoire Naturelle?

The Parisianer. Chroniques du Muséum unveils the story of the National Museum of Natural History mixing art, history and sciences through the covers which were exhibited in Paris at the Jardin des Plantes in the summer of 2021. The covers take us into a magnificent, hypnotizing world where we can understand the origin of the living, discover a Diplodocus for the first time, notice the damages of the human activities on our planet, look for the remnants of long-lost reigns or dream of conquering the universe. The story of the Museum does not only include major discoveries and scientific breakthroughs. The Parisianer works make us relive historic moments when Voltaire, Buffon, or Paul Rivet got interested in the museum, speak of heroical actions of Resistance at the Musée de l’Homme during the Second World War, the first time a giraffe came to the Ménagerie – a first in France – and the introduction of the blob at the Paris zoo. It also takes you to the imaginary or feared futures when Parisians live on Mars or suffer from global warming.

Graduate of the renowned École nationale supérieure des Arts Décoratifs in Paris, Michael has been working as a graphic artist and designer for publications of the Opéra Royal, the Palace of Versailles, the Comédie-Française, the Bibliothèque nationale de France, and the French Ministry of Culture, among others, as well as large companies such as Renault. His graphic and design work regularly appears in design magazines. He launched The Parisianer project in 2013 with his friend Aurélie Pollet.



Dig It All: Digital technologies for the visualisation of visual culture

Best practices, strategies and insights from the partners of the Danube’s Archaeological eLandscapes international project (DAeL)

The technological possibilities for digital visualizations are developing extremely fast . The talks and workshop aim to show some of the best examples and practices from the field of cultural heritage.  You can hear about the archaeological, technological and social aspects of the visualisation of our common heritage, while the round table discussion is dedicated to the digitalization of archaeological heritage and its documentation  in museums and other institutions.

 This program is part of the Danube’s Archaeological eLandscapes Industry Forum program series.

Tuesday, 23 November
Industry Forum: Workshop within the Danube’s Archaeological eLandscapes international project (DAeL)

The aim of this workshop is to support the knowledge transfer between creators in the creative industry and DAeL project partners. By showcasing technical capabilities and possible solutions to the member of the  international working group, the workshop hopes to establish standards for the implementation of digital technologies for the visualization of cultural heritage, mainly archaeological heritage.

Wednesday, 24 November
Lapidárium of the Hungarian National Museum, Budapest