MuseumDigit 2021

Tuesday, 23 NOVEMBER

8:30-9:15 Registration
9.30-10.00 Welcome Speeches

10.00-11.00 Digital Pioneers

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

In 1889 the curator G. B. Goode of the Smithsonian Institute delivered an anticipatory lecture entitled ‘The Future of the Museum’ in which he said this future museum would stand side by side with the library and the laboratory. Convergence in collecting organisations propelled by the liquidity of digital data now sees them reconciled as information providers in a networked world. Media theorists describe this world-order as “database logic,” whereby users transform the physical assets of cultural organisations into digital assets to be—uploaded, downloaded, visualized, shared, users who treat institutions not as storehouses of physical objects, but rather as datasets to be manipulated. This presentation explores how such a mechanistic description can replaced by ways in which computation has become ‘experiential, spatial and materialized; embedded and embodied’. It was at the birth of the Information Age in the 1950s that the prominent designer Gyorgy Kepes of MIT said “information abundance” should be a “landscapes of the senses” that organizes both perception and practice This “felt order” should be a source of beauty, data transformed from its measured quantities and recreated as sensed forms exhibiting properties of harmony, rhythm and proportion. The title of the talk references a framework at the Laboratory for Experimental Museology EPFL based on ‘whole of environment’ encoding. Such a scaffold unites artificial intelligence with data curation, ontology with visualization, and communities of publics and practitioners with embodied participation through immersive and interactive interfaces. Exploiting a series of experimental and embodied platforms, the discussion argues for a reformulation of engagement with digital archives and digital objects at the intersection of the tangible and intangible. The performative interfaces and repertoires described demonstrate opportunities to reformulate narrative in a digital context and the ways they support personal affective engagement with cultural memory.

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

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. 

senior content designers, Studio Louter, Amsterdam

In this talk, Denise and Sarah dive into the making progress of two award-winning exhibitions with a completely different message, audience and goal. What do they have in common? The method with which they are developed. 

Studio Louter is a content design studio for museums. They use Emotion Design to get the visitor emotionally involved in meaningful stories. This results in an unforgettable visitor experience.  

Content designers Denise Schipper and Sarah van Kerkvoorde will explain how they applied Emotion Design throughout the process of the temporary exhibition ‘Shifting Image – In Search of Johan Maurits’ at The Mauritshuis which was a response to a national discussion about the removal of the contested bust of Johan Maurits (1604–1679), governor of the Dutch colony in Brazil. And the playful ‘Family Exhibits’ of the National Museum of Qatar that evoke interaction between family members.

Denise Schipper studied ‘Migration and Global Interdependence’ for her master’s degree at the University of Leiden and Sarah van Kerkvoorde graduated as Public Historian at the University of Amsterdam. As content designers, Sarah and Denise are both responsible for the design and production of exhibition concepts, exhibition storylines, and museum films and interactives. Some of the many clients they worked for are: Rijksmuseum Boerhaave (European Museum of the Year 2019), Royal Belgian Institute of Natural Sciences, National Holocaust Museum.

11.00-11.20 Coffee Break

11.20-12.30 Multimedia Evolution

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


AVICOM’s festival, the F@IMP Festival, dates back more than twenty years. The aim of the international event is to encourage the creation of audiovisual content and the use of innovative technologies in the international museum world. The presentation provides a brief historical overview of the history of the festival, from the analogue application and evaluation process to the development of a complex IT infrastructure showcasing the digital cultural heritage created by the festival over the years. It also presents how new visual trends and innovative technologies are emerging in the museum world through award-winning works.

Ildikó Sz. Fejes graduated from Eötvös Lóránt University with majors in History and Archaeology. Later, she earned a postgraduate degree in European Affairs and a credential in Arts and Business Management. She has more than 25 years of experience at the Hungarian National Museum, including database development, internet, and multimedia content development, and EU projects. Since 2011, she heads the National Centre of Museological Methodology and Information (OMMIK). She has been an AVICOM board member since 2016.

János Tari is an award-winning director, cinematographer, sociologist, expert in anthropological documentaries, has been the Vice-President of the Audiovisual Section of the World Federation of Museums (ICOM) since 1998, and since 2013 the elected President of ICOM-AVICOM. Since 2011, he has been the studio manager of the Department of Communication and Media Studies of the Károli Gáspár University: the production and teaching of scientific documentaries is the focus of his work. He has participated in several international projects related to the film preservation and presentation of ethnography and intangible cultural heritage, and his current research focuses on the history and theory of ethnographic and anthropological film. He obtained his doctorate in comparative folklore.

This year sees the end of the pilot project run by the Hungarian National Museum and the Museum of Fine Arts, Budapest. The talk draws on the work undertaken as part of the project aiming at digitizing highlighted objects and sharing the records on  the MuseuMap page.  Focusing on publishing high-quality digital content and making it publicly accessible through creative solutions, MuseuMap enables learning about the digitised objects in a fun and easy way. MuseuMap’s mission is to help Hungarian museums in promoting their programmes, collections and services on the site. The talk will also present the results achieved, opportunities for cooperation and future development plans.

Krisztina Farkas always has been interested in literature, art, history, and informatics. During her university studies, she became acquainted with Informatics, Literature, and the world of libraries. She has been working as a museum IT specialist at the Hungarian National Museum, at the National Centre of Museological Methodology and Information (OMMIK) since 2018. In the course of her work, she mainly focuses on the development of the MuseuMap page, constantly looking for opportunities to publish digital copies of works of art and testing new technologies for the display of virtual exhibitions. She is also involved in OMMIK’s development work, including the design of the MuseuDigit 2020 Online Conference’s virtual environment.

Managing Director, ICOM Czech Republic

From August 20-28, 2022, the 26th General Conference of the International Council of Museums (ICOM) will be held in Prague. This summit of ICOM members will set the direction for the development of the field of museology for at least the next three years. The main topic of the conference is ´The Power of Museums´. In the 21st century museums have huge potential to influence the world around them and in many cases stand at the beginning of a long chain of social development. Museums preserve the past and the present, interpret them and share them with the public for discussion. Museums have the power to make the world a better place! The Conference will explore the main topic in four sub-themes: ‘Purpose: Museums and civil society’, ‘Sustainability: Museums and resilience’, ‘Vision: Museums and leadership’, and ‘Delivery: Museums and new technologies’.

The 26th ICOM General Conference Prague 2022 will also address the consequences of the impact of the COVID-19 pandemic, which affected museums and their staff, but also the preparation and design of the conference. We accepted the impact of the pandemic as a challenge and have planned the whole conference in a hybrid format. We have prepared a rich program for onsite participants, which will include hundreds of lectures, discussions and workshops, off-site meetings of ICOM international committees, guided tours of Prague and 40 excursions to introduce delegates to the cultural heritage of the Czech Republic. The main program will be broadcast online and will be open to museum staff and other colleagues who for various reasons could not travel to Prague. 

Martina Lehmannová is the Managing Director of the Office of ICOM Czech Republic for the preparation of the 26th ICOM General Conference Prague 2022. She has been a member of ICOM since 2007 and from 2015-2020 she was the chairwoman of the ICOM Czech Republic. She participated in the preparation of the Recommendation Concerning the Protection and Promotion of Museums and Collections, their Diversity and their Role in the Society approved by UNESCO in 2015.

She graduated from the Faculty of Arts of Masaryk University in Brno in the field of history and art history in 2002. From 2001-2011 she worked at the Moravian Gallery in Brno as a curator of furniture and textile collections, and from 2006 as a curator of the Josef Hoffmann Birth House in Brtnice and Dušan Jurkovič’s Own Villa in Brno. From 2012-2014 she served as a curator of the collection of applied art at Prague City Museum. In the years 2015-2017, she worked at the Museum of Decorative Arts in Prague. From 2017-2020 she was the Director of the Lidice Memorial. She is the author and co-author of several temporary and permanent exhibitions, professional texts on architecture, applied art, design, and collecting of the 19th and 20th centuries.

12.30-14.30 Lunch Break

14.30-15.30 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

15:30-17:20 Dig IT All: Digital technologies for the visualisation of cultural heritage

Wednesday, 24 NOVEMBER

9.30-10.50 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 (MIMA) between 2014-2018, 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.

10.50-11.10 Coffee Break

11.10-11.50 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.

11.50-12.10 & 13.40-14.00 Museums and New Digital Strategies

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

Audience-centered digital strategies and experiences in museums: after almost two decades where museums and digital were flirting in attraction-repulsion relations, the global pandemic crisis made it clear that only through a profound articulation this relationship can project itself into the future; the conference will explore some resilient directions where this relation express itself most in the Réunion de musées nationaux-Grand Palais’ projects.  

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.

12:10-13:40 Lunch Break

14:00-15:00 Museums and Creative Collaborations

creator of WAMP Design Market, Head of Development and Projects at MOME

Réka Matheidesz was originally an economist who and has been involved in the development of the Creative Industry in various roles for the last 20 years. She ran a company (WAMP) that worked as a platform for Hungarian designers to reposition design but was an advisor to the European Commission and strategies that helped many creative organizations. She is currently working as the Project and Development Director at the Moholy-Nagy University of Arts (MOME). Her initiative, called Chapel(Kápolna), offers new media opportunities for new media designers.

Dr. Judit Horváth, Head of the Contemporary Design Department of the Museum of Applied Arts
Erika Varga, designer of Romani Design

The series of exhibitions entitled In Circulation was launched by the Department of Contemporary Design of the Museum of Applied Arts, in which contemporary designers are asked to choose an object, group of objects from the museum’s collection and create their own design by reflecting on it. And the work of art created in this way becomes part of the museum’s collection itself. The designers of Romani Design chose six sacred images depicting the Virgin Mary or female saints as inspiration to create a collection of women’s clothing and matching accessories.

Romani Design is the world’s first Roma fashion studio. The mission of the sisters, Erika Varga and Helena Varga, who founded the studio in 2010, is to help build the socio-cultural prestige of the Roma with the tools of fashion and applied arts. They combine elements of Roma and Hungarian folklore in their collections. The Museum of Applied Arts has had a close relationship with designers since the beginning.

Dr. Judit Horváth, museologist, curator, head of the Contemporary Design Department of the Museum of Applied Arts, member of the Professional Advisory Board of the Hungarian Fashion and Design Agency, member of the NKA College of Fine Arts. She specializes in contemporary collecting. Since 1999, she has organized more than one hundred and fifty exhibitions of contemporary art and design. In 2015, the Department of Contemporary Design of the Museum of Applied Arts was established under her leadership.

15.00-16.00 MúzeumCafé Roundtable


Dig It All: Digital technologies for the visualisation of cultural heritage

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

VR and 3D experts of Leopoly Ltd.

Zoltán is a 3D and VR enthusiast with 10 years’ experience in finance and operations at 3D for All Ltd and Leonar3Do VR Inc. He believes in the democratization of VR and 3D software solutions. His hobbies are cycling and outdoor activities.

Being a product designer, Zsófia Béky keeps the users in the center of attention. Her goal for the product is to be both useful and usable. She likes to grasp problems and find creative solutions for them. Her hobbies include art and crafts, anything from drawing, crocheting to interior design.

director of the Archaeological Museum in Zagreb, Croatia

Archaeology and tourism are sometimes perceived as natural allies. In many cases reality proves this assumption to be true, even if the relationship between the two fields is also often marked with incomprehension and mistrust. As regards the contexts in which the two disciplines work well together, cultural routes have in the recent decades surfaced as a very valuable framework that can bring out the best from both sides. In this presentation we look at the cultural route model, with a special emphasis on the Iron Age Danube Cultural Route.

Sanjin Mihelić is an archaeologist and heritage professional with a 20-year of experience in cultural heritage management, currently serving as the Director of the Archaeological Museum in Zagreb, Croatia, and the President of the Iron Age Danube Cultural Route Association.

professor at the University of Ljubljana and expert at Institute for the Protection of Cultural Heritage of Slovenia

Realizing digitalisation of archaeological heritage is a hard task, mostly due to the overwhelming amount of scientific data to be processed. What data can we offer and what result do we want? This talk will answer the question with the help of the case study on Iron Age Landscapes from Eastern Slovenia. 


Matija Črešnar is a specialist in archaeology of Bronze and Iron Ages, employed at the University of Ljubljana, Faculty of Arts, Department of Archaeology as Assist. Prof. and head of the cathedra for Metal Ages. He is also the head of the Centre for Interdisciplinary Research in Archaeology at the Department and project leader for several national and international research as well as heritage promotion projects. Besides that, he is partly employed at the Institute for the Protection of Cultural Heritage of Slovenia, where he has a long list of cooperations in projects connecting various strands of heritage management, trying to bridge the gaps between heritage research, heritage protection, heritage promotion as well as its touristic use.

3D animation and video game experts

They will demonstrate how to used game elements and pipelines to visualize interactive historical scenarios in our recent projects Flavia Solva, Großklein, and Hallstatt.

Ilja Slammar works in the work in the 3D industry for 20 years, while getting knowledge and expanding his expertise in different companies. Today he visualizes interactive historical scenarios using game pipelines.

 Although Josef Prenner grew up on a farm, he studied electric engineering in high school, theatre and film media science, and informatics at the University Vienna.
He loves to make creative immersive experiences and time travel, mostly using VR technology and games to enable this. 

Chief Advisor of the CEO, CODE project lead

Veszprém plans to establish a significant digital, immersive experience center as a flagship project of the Veszprém-Balaton 2023 European Capital of Culture. What role can play CODE and the new immersive technologies and genres in education, fine arts, tourism, and new virtual narratives?

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.

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

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