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Cracking the time. On digital art archives
The symposium is part of Fubar festival that seeks to embrace error as something that is part and parcel of digital technologies and this year it looks into possible ways of appropriating error as archival modus operandi. This is why the symposium addresses various aspects of archiving, conserving and presenting of digital artworks, including glitch artworks. By what means can we approach archiving of digital art and its future today? What kind of infrastructure is needed to meet variability and performativity of such works? What is the role of the archive of digital art and how do we keep it alive? What if the archive fails?
The symposium places valid positions in the context of archiving of digital art and presents them for discussion. At the center of such discussions are the goals, roles, methods, failures, and the social processes in which archives of digital art are set.
Moderator: Irena Borić
Irena Borić is an art historian. She works as an independent curator and critic, but she is also working in temporary collectives on projects such as Politics of Feelings. Economies of love, 2012, Shame on you!, 2013-2016, and net.cube, 2015-2018, Symptoms of the Future, 2020. Curated exhibitions include Politics Within, Center for Contemporary Arts, Celje, 2014, My Land Has Palm Trees, Rijeka, 2014, Pipe Dream, Kunsthalle Exnergasse, Vienna, 2015, Truth that Lies (with Renat Šparada), Impakt, Utrecht, 2019, Low frequencies of the Earth’s song, Galženica Gallery, 2019, Digital oxymoron, GT22, Maribor/MKC Split 2023/24, 26th Media Mediteranea festival : Umreženo more, 2024. She was a member of the biennial collective of the 32nd Graphic Biennale: Birth Criterion, Ljubljana, 2017. She stayed at curatorial residencies in Helsinki, 2011, Celje, 2012 and Vienna, 2015. She is one of the INCA press editors. She is a member of the Croatian section of AICA.
11:15-13:15 Questioning infrastructure
Lozana Rossenova, Jaka Železnikar, Imane B.K. and Martino Morandi (Constant)
The first panel brings in the perspective of institutions and organizations on building digital archives or archives of digital art. Lozana Rosenova brings our attention to the overall importance of open, collaborative and sustainable digital infrastructure on the case study of rhizome’s ArtBase, while Jaka Železnikar brings in the perspective of the museum’s struggles with conservation of digital art as well as his own experience as an internet artist. We learn from Constant about Splinter, a traveling server that supports and archives collective work.
Archiving net art via open, collaborative and sustainable digital infrastructure
In this talk, Lozana Rossenova will discuss her doctoral research on redesigning the ArtBase – an online archive of net art maintained by art organization Rhizome. The presentation will focus on the digital infrastructure choices that enable a flexible, open and continuously evolving online environment for archiving the performative and variable characteristics of net art. The talk will also address matters of care regarding the underlying open source software suite. The Wikibase software’s sustainable development depends on a network of related agents: stakeholder institutions, user and developer communities, research projects. The Open Science Lab plays a significant role in this network and relevant practice examples will be highlighted in the context of long-term maintenance of digital archive infrastructures.
Lozana Rossenova is a digital designer and researcher. In 2021, she completed her PhD research at the Centre for the Study of the Networked Image (London South Bank University) in collaboration with Rhizome, a leading international born-digital art organisation. She explored questions of presentation and performativity in Rhizome’s online art archive through open-source and community-driven approaches to digital infrastructure. Rossenova is currently a Postdoc Researcher at the Open Science Lab at TIB (German National Library of Science and Technology, Hannover) working on the NFDI4Culture project towards a national research infrastructure of cultural heritage data.
Digital artwork archive and its restoration
The question of the archive is inseparably connected with the selection (what and why to archive) as well as with conservation-restoration aspects and practices. At the symposium, Jaka Železnikar will emphasize the aspects related to the archiving of digital artworks and their preservation and restoration. The specificity of the latter is that the authors of the work are active and often intervene in the restoration process or even carry it out in its entirety. At the same time, the materiality of the work and the software can change to a large extent, which is not typical for modern restoration interventions, but in the context of digital works, the approach is productive. The presentation will be based on his own restoration interventions in his own works of online art and e-literature. The perspective will be expanded with the help of numerous conversations through the Diskurzor series (Moderna Galerija Ljubljana, 2023 – preservation, restoration and presentation of digital works of art).
Jaka Železnikar (Slovenia) is the author of works of internet art and e-literature and a web developer. He set the first website in the year 1996. As a web developer, he worked with prominent Slovenian companies and cultural institutions (Telekom Slovenije, Mladinska knjiga, Moderna Galerija Ljubljana). In his creative work, he is considered a pioneer of internet art (net art) and online e-literature. He is currently developing e-literary web applications. In addition to websites, his work includes web and mobile applications, browser add-ons, floppy-disks, books and e-books, and a puppet-robot that tells site specific stories. He exhibits and publishes internationally. In 2010, Jaka Železnikar obtained the title of MA in Creative Writing and New Media.
Splinter
At Constant we have been busy for many years finding ways to support and archive the modes of collective creation that are enabled by F/LOSS software. Splinter is a traveling server that continues this long standing practice of documenting and questioning collaborative processes. It places the infrastructure used to archive the collective work right in the same room where it takes place, making the archival system itself readable to its users and exposing it to further interventions. With splinter we continue the conversation to re-imagine how technical work and content development can grow together, how tools and practices can be mutually shaping each other.
Imane B.K. collaborates with her colleagues, students and friends to create coaching sessions, workshops, and re-learning opportunities at Code Space (Sint Lucas Antwerpen). Alongside Tunde Adefioye and Nona Sadey, she researches threads Towards Braver Spaces and questions the fostering of collective and sustainable spaces that center care and well-being in multiple communities. Imane is part of Constant, an organisation based in Brussels, networked with a big constellation of artistic organisations that work at the intersection of technology, art and politics.
Martino Morandi has a recalcitrant relation to bio-texts and other technologies that produce predetermined subjectivities. He is an interdependent researcher at Constant in Brussels, Infrastructural Manoeuvres in Amsterdam, and C.I.R.C.E. (International Resource Center for Electric Convivialities) in Italy. His interests and projects revolve around the material conditions of technologies and their genealogies, using non-hegemonic paradigms like conviviality, semi-efficiency, dys-functioning. Ongoing projects include studying surveyance and the quantified gaze over contemporary cities (Footfall Almanac with Alex Zakkas) and seeking strategies to resist the computational reform of education (The Relearning Series with Jara Rocha).
Constant is a non-profit organisation based in Brussels since 1997 and active in the fields of art, media and technology. Constant develops, investigates, supports and experiments, learning from / engaging with / practicing from within feminisms. Constant is inspired by the principles of copyleft, Free/Libre + Open Source Software while formulating its own critic towards it. Constant loves collective, digital, artistic and thoughtful practices, organising transdisciplinary, open-ended worksessions. It is inhabited and activated by artists, activists, programmers, academics, designers who contaminate it with their practices, sensibilities and experiences, each in their own way. Constant works with feminist servers, situated publishing, active archives, extitutional networks, (re)learning situations, hackable devices, performative protocols, solidary infrastructures and other spongy practices to stake out paths towards speculative, libre, intersectional technologies.
14:00-16:00 Possibilities for glitch
Rosa Menkman, Teuta Gatolin, Vedran Gligo
The second panel brings in the artistic perspectives on archiving. While Rosa Menkman goes into specificity of collection making, Teuta Gatolin presents her artistic research that deals with contemporary nostalgia and Vedran Gligo looks into do it yourself archiving that goes under the radar of institutional support.
A Collection of Collections Folded into the Prelinger Library
In 2004, Megan and Rick Prelinger founded the Prelinger library, an a-typical, privately funded public library situated in San Francisco that holds many special collections of not just books and zines, but also buttons, maps, license plates, scrapbooks and so forth. It is a collection of collections, or “a library of serendipity.” In 2022, Rosa Menkman visited the unique space and recognised many elements of her own practice. To her, Collecting is like casting out a wide net, to somehow find the (not yet graspable) essence of an approach or artifact. In her talk, Menkman will use a scan of the library as a vehicle to walk and talk through her own practice of iterative research, collecting and categorizing.
Rosa Menkman works as a Dutch artist and researcher of resolutions, with a special focus on glitches, im/possible images and lost and unnamed colours. With a Focus on noise artifacts, resulting from accidents in both analog and digital media, Menkman aims to find new and alternative methods to perceive with our opaque image processing technologies. As a compendium to this research, Rosa published the Glitch Moment/um (INC, 2011), a book on the exploitation and popularization of glitch artifacts. She further explored the politics of image processing in Beyond Resolution (i.R.D., 2020). In this book, Menkman describes how the standardization of resolutions is not only a process that promotes efficiency, order and functionality, but also involves compromises, and as a result, the obfuscation of alternative ways of rendering.
Intentionally missing the future, again.
This presentation will show an overview of the current art research Stuck in a tub to watch the future develop in this way (2022-), that is focused on contemporary nostalgia. Among its artistic methods, Stuck often relies on remixing digital archival material in public domain and considering the entire Internet as a huge “archive” or effects, affects and interwoven temporalities.
Teuta Gatolin is an intermedia artist and curator based in Croatia, currently researching storytelling ecology, technology as a companion species, illusions, trickery and nostalgia. Her art practice is often process-oriented, spawning iterations of itself realized with other fabulators, and taking the shape of installations, text, objects, workshops, letters, costumes, virtual spaces and a range of negotiations between different media. She studied New Media Arts at the Fine Art Academy, and Journalism/Media Studies at the Faculty of Political Sciences, both in Zagreb, Croatia.
Archiving (for) failure and success
Archive design requires resources that are often out of reach for artists and artist initiatives. The 21st century software landscape offers many solutions for digital archiving, but these systems are often inadequate. Is it possible for an artist to archive their own work or should the institutions provide the infrastructure? Let’s try and answer these questions by looking through the eyes of the Format C Artist organization who are, amongst other archiving initiatives, currently building one for 10+ years of the Fubar festival.
Vedran Gligo (born 1984) – a self-taught DIY hacker/artist/organizer/educator. Strongly applying open source principles in everyday life and practice and working to empower the local community by holding free and open digital workshops through the hacklab01.org project which he co-founded in 2009. Working with Format C Art Org, he is active in the fields of free culture, promotion of the GNU/Linux system, glitch art production, large-scale collaborative online art, independent cultural production, (h)activism, and more. He is one of the curators and founders of Fubar – an annual new media gathering. He is a member of the Croatian Association of Interdisciplinary Artists (HUIU).
Fubar is a project by the Format C Art Organization, co-financed by the Kultura nova Foundation, the Ministry of Culture and Media of the Republic of Croatia, the City of Zagreb and the Goethe-Institut Kroatien. The program is implemented in cooperation with Pogon – the Zagreb Center for Independent Culture and Youth, which is co-financed by the City of Zagreb, and in partnership with the KA-MATRIX Association and the Multimedia Institute. The festival is supported by a network of collaborators, artists and partners from the cultural and media sectors.
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Lomljenje vremena. O arhivima digitalne umjetnosti
Simpozij je dio Fubar festivala koji nastoji prihvatiti pogrešku kao nešto što je sastavni dio digitalnih tehnologija, a ove godine se bavi mogućim načinima prisvajanja pogreške kao arhivskog modusa operandi. Stoga se simpozij bavi različitim aspektima arhiviranja, očuvanja i prezentiranja digitalnih umjetničkih djela, uključujući i glitch umjetničkih djela. Na koji način možemo pristupiti arhiviranju digitalne umjetnosti i njezinoj budućnosti danas? Koja je infrastruktura potrebna kako bi izašla u susret varijabilnosti i performativnosti takvih radova? Koja je uloga arhiva digitalne umjetnosti i kako ga održati na životu? Što ako arhiv zakaže?
Simpozij predstavlja valjana stajališta u kontekstu arhiviranja digitalne umjetnosti i iznosi ih na raspravu. U središtu rasprava su ciljevi, uloge, metode, neuspjesi i društveni procesi u kojima su postavljeni arhivi digitalne umjetnosti.
Moderatorica: Irena Borić
Irena Borić je povjesničarka umjetnosti. Djeluje kao nezavisna kustosica i kritičarka, ali i u privremenim kolektivima na projektima poput Politike osjećaja. Ekonomije ljubavi, 2012., Srami se!, 2013.-2016., net.cube, 2015.-2018., Symptoms of the Future, 2020. Kurirane izložbe uključuju Politics Within, Center sodobnih umetnosti Celje, 2014., U mojoj zemlji palme rastu, Rijeka, 2014., Pipe Dream, Kunsthalle Exnergasse, Beč, 2015., Truth that Lies (s Renatom Šparadom), Impakt, Utrecht (2019), Niski tonovi zemljine pjesme, Galerija Galženica, 2019., Digitalni oksimoron, GT22, Maribor/MKC Split 2023/24., 26. festival Media Mediteranea: Umreženo more, 2024. Bila je članica bijenalskog kolektiva 32. Grafičkog bijenala: Kriterij rojstva, Ljubljana, 2017. Boravila je na kustoskim rezidencijama u Helsinkiju, 2011., Celju, 2012. i Beču, 2015. Jedna je od INCA press urednika/ca. Članica je hrvatske sekcije AICA-e.
11:15-13:15 Propitivanje infrastrukture
Lozana Rossenova, Jaka Železnikar, Imane B.K. and Martino Morandi (Constant)
Prvi panel donosi perspektivu institucija i organizacija o izgradnji digitalnih arhiva ili arhiva digitalne umjetnosti. Lozana Rosenova skreće našu pozornost na važnost otvorene, suradničke i održive digitalne infrastrukture na studiji slučaja rhizome ArtBase, dok Jaka Železnikar donosi perspektivu muzejske borbe s očuvanjem digitalne umjetnosti kao i vlastito iskustvo internet umjetnika. Od Constanta saznajemo o Splinteru, putujućem serveru koji podržava i arhivira kolektivni rad.
Arhiviranje internetske umjetnosti putem otvorene, suradničke i održive digitalne infrastrukture
U ovom će predavanju Lozana Rossenova raspravljati o svom doktorskom istraživanju o redizajnu ArtBase – online arhive net arta koju održava umjetnička organizacija Rhizome. Prezentacija će se fokusirati na izbor digitalnih infrastruktura koje omogućuju fleksibilno, otvoreno i kontinuirano razvijajuće online okruženje za arhiviranje izvedbenih i promjenjivih karakteristika internetske umjetnosti. Razgovor će se također pozabaviti pitanjima brige o softverskom paketu otvorenog koda. Održivi razvoj softvera Wikibase ovisi o mreži međusobno povezanih aktera: institucijama dioničara, zajednicama korisnika i programera, istraživačkim projektima. The Open Science Lab igra značajnu ulogu u ovoj mreži te će biti istaknuti relevantni primjeri iz prakse u kontekstu dugoročnog održavanja infrastruktura digitalnih arhiva.
Lozana Rossenova je digitalna dizajnerica i istraživačica. Godine 2021. završila je doktorsko istraživanje u Centru za proučavanje umrežene slike (London South Bank University) u suradnji s Rhizomeom, vodećom međunarodnom organizacijom digitalne umjetnosti. Istraživala je pitanja prezentacije i performativnosti u Rhizomeovoj internetskoj umjetničkoj arhivi putem otvorenog koda i kolaborativnog pristupa digitalnoj infrastrukturi. Rossenova je trenutačno postdoktorandica u The Open Science Lab pri TIB-u (Njemačka nacionalna knjižnica za znanost i tehnologiju, Hannover) te radi na projektu NFDI4Culture prema nacionalnoj istraživačkoj infrastrukturi podataka o kulturnoj baštini.
Arhiv digitalne umjetnosti i njezina restauracija
Pitanje arhiva neraskidivo je povezano s odabirom (što i zašto arhivirati) te s konzervatorsko-restauratorskim aspektima i praksama. Jaka Železnikar na simpoziju će istaknuti aspekte vezane uz arhiviranje digitalnih umjetničkih djela te njihovo očuvanje i restauriranje. Specifičnost potonjeg je u tome što su autori radova aktivni i često interveniraju u restauratorski proces ili ga čak provode u cijelosti. Pritom se materijalnost djela i softvera mogu u velikoj mjeri promijeniti, što nije tipično za suvremene restauratorske zahvate, no u kontekstu digitalnih djela pristup je produktivan. Prezentacija će se temeljiti na vlastitim restauratorskim zahvatima u vlastitim djelima online umjetnosti i e-književnosti. Perspektiva će se proširiti uz pomoć brojnih razgovora kroz seriju Diskurzor (Moderna galerija Ljubljana, 2023. – očuvanje, restauracija i prezentacija digitalnih umjetnina).
Jaka Železnikar (Slovenija) autor je djela internetske umjetnosti i e-literature te web developer. Prvu web stranicu postavio je 1996. godine. Kao web developer surađivao je s uglednim slovenskim tvrtkama i kulturnim institucijama (Telekom Slovenija, Mladinska knjiga, Moderna galerija Ljubljana). U svom stvaralaštvu smatra se pionirom internetske umjetnosti (net art) i online e-književnosti. Trenutno razvija e-književne web aplikacije. Osim web stranica, njegov rad uključuje web i mobilne aplikacije, dodatke preglednicima, diskete, knjige i e-knjige te lutku-robota koja priča site-specifične priče. Izlaže i objavljuje u inozemstvu. 2010. godine Jaka Železnikar stekao je titulu magistra kreativnog pisanja i novih medija.
Splinter
U Constantu smo se godinama bavili pronalaženjem načina za podršku i arhiviranje kolektivnog stvaralaštva koje omogućuje F/LOSS softver. Splinter je putujući server koji nastavlja ovu dugogodišnju praksu dokumentiranja i propitivanja kolaborativnih procesa. Smješta infrastrukturu koja se koristi za arhiviranje kolektivnog rada točno u istu prostoriju u kojoj se odvija, čineći sam arhivski sustav čitljivim njegovim korisnicima i izlažući ga daljnjim intervencijama. Sa Splinterom nastavljamo ponovno zamišljati kako tehnički rad i razvoj sadržaja mogu rasti zajedno, kako alati i prakse mogu međusobno oblikovati jedni druge.
Imane B.K. surađuje sa svojim kolegama, studentima i prijateljima na kreiranju treninga, radionica i prilika za ponovno učenje u Code Spaceu (Sint Lucas Antwerpen). Zajedno s Tunde Adefioye i Nonom Sadey, istražuje teme u kolektivu Towards Braver Spaces i propituje poticanje kolektivnih i održivih prostora koji stavljaju brigu i dobrobit u centar više zajednica. Imane je dio Constanta, organizacije sa sjedištem u Bruxellesu, umrežene s velikom konstelacijom umjetničkih organizacija koje djeluju na raskrižju tehnologije, umjetnosti i politike.
Martino Morandi zazire od biotekstova i drugih tehnologija koje proizvode unaprijed određene subjektivnosti. Istraživač je u Constantu u Bruxellesu, Infrastructural Maneuvers u Amsterdamu i C.I.R.C.E. (International Resource Center for Electric Convivialities) u Italiji. Njegovi interesi i projekti vrte se oko materijalnih uvjeta tehnologija i njihovih genealogija, koristeći nehegemonističke paradigme kao što su druželjubivost, poluučinkovitost, nefunkcioniranje. Tekući projekti uključuju proučavanje anketa i kvantificirani pogled na suvremene gradove (Footfall Almanac s Alexom Zakkasom) i traženje strategija za otpor računalnim reformama obrazovanja (The Relearning Series s Jarom Rocha).
Constant je neprofitna organizacija sa sjedištem u Bruxellesu od 1997. godine i aktivna na području umjetnosti, medija i tehnologije. Constant razvija, istražuje, podržava i eksperimentira, učeći od feminizama/uključujući se u njih/prakticirajući unutar njih. Constant je inspiriran načelima copylefta, Free/Libre + Open Source softvera, formulirajući istovremeno kritički pristup prema njima. Constant voli kolektivne, digitalne, umjetničke i promišljene prakse, organizirajući transdisciplinarne, otvorene radne sesije. Nastanjuju ga i aktiviraju umjetnici, aktivisti, programeri, akademici, dizajneri koji ga kontaminiraju svojim praksama, senzibilitetima i iskustvima, svatko na svoj način. Constant radi s rad s feminističkim serverima, situiranim izdavaštvom, aktivnim arhivima, ekstitucijskim mrežama, situacijama (ponovnog) učenja, uređajima koji se mogu hakirati, performativnim protokolima, solidarnim infrastrukturama i drugim spužvastim praksama kako bi se zacrtali putovi prema spekulativnim, slobodnim, intersekcijskim tehnologijama.
14:00-16:00 Mogućnosti za glitch
Rosa Menkman, Teuta Gatolin, Vedran Gligo
Drugi panel donosi umjetničke perspektive arhiviranja. Dok Rosa Menkman ulazi u specifičnosti izrade kolekcija, Teuta Gatolin predstavlja svoje umjetničko istraživanje koje se bavi suvremenom nostalgijom, a Vedran Gligo bavi se uradi sam arhiviranjem koje prolazi ispod radara institucionalne podrške.
Zbirka zbirki presavijena u Prelingerovu knjižnicu
Godine 2004. Megan i Rick Prelinger osnovali su knjižnicu Prelinger, neuobičajenu, privatno financiranu javnu knjižnicu smještenu u San Franciscu koja sadrži mnoge posebne zbirke ne samo knjiga i časopisa, već i gumbe, karte, registarske pločice, spomenare i tako dalje. To je zbirka zbirki ili “biblioteka slučajnosti”. 2022. godine Rosa Menkman je posjetila ovaj jedinstveni prostor i prepoznala mnoge elemente vlastite prakse. Za nju je kolekcionarstvo poput bacanja široke mreže kako bi nekako pronašla (još nedokučivu) esenciju pristupa ili artefakta. U svom predavanju, Menkman će koristiti skenirani prikaz knjižnice kao sredstvo za šetnju i razgovor kroz vlastitu praksu iterativnog istraživanja, sakupljanja i kategoriziranja.
Rosa Menkman radi kao nizozemska umjetnica i istraživačica rezolucija, s posebnim fokusom na glitcheve, ne/moguće slike te izgubljene i neimenovane boje. S fokusom na artefakta šuma koji proizlaze iz greški u analognim i digitalnim medijima, Menkman ima za cilj pronaći nove i alternativne metode opažanja s našim neprozirnim tehnologijama obrade slike. Kao sažetak svojih istraživanja, Rosa je objavila Glitch Moment/um (INC, 2011.), knjigu o iskorištavanju i popularizaciji glitch artefakata. Dodatno je istražila politiku obrade slike u Beyond Resolution (i.R.D., 2020.). U ovoj knjizi Menkman opisuje kako standardizacija rezolucija nije samo proces koji promiče učinkovitost, red i funkcionalnost, već uključuje i kompromise, i kao rezultat toga, zamagljivanje alternativnih načina prikazivanja.
Namjerno fulavanje budućnosti, opet.
Prezentacija predstavlja aktualno umjetničko istraživanje Zapeli u limenci da bismo gledali budućnost kako se odvija ovim tokom (2022.-) koje je fokusirano na suvremenu nostalgiju. Kao jednu od umjetničkih metoda, Zapeli u limenci se često oslanja na remiks digitalnog arhivskog materijala dostupnog u javnoj domeni te tretiranje cijelog interneta kao ogromne “arhive” situacija, afekata i isprepletenih temporalnosti.
Teuta Gatolin intermedijalna je umjetnica i kustosica koja živi i radi u Zagrebu. Njezina je umjetnička praksa bazirana na procesualnom i interdisciplinarnom radu, koji uključuje korištenje raznih medija poput prostornih instalacija, tekstila, videa, fotografije, pisama, virtualnih prostora, radioničkog formata namijenjenog široj publici i drugog. Završila je preddiplomski i diplomski studij Animiranog filma i novih medija pri Akademiji likovnih umjetnosti u Zagrebu. Sudjelovala je na više samostalnih i grupnih izložbi te hibridnih projekata u Hrvatskoj i inozemstvu.
Arhiviranje uspjeha i neuspjeha
Resursi za dizajn arhiva često su izvan dohvata umjetnicima i umjetničkim inicijativama. Softver 21. stoljeća nudi razne mogućnosti za digitalno arhiviranje, no ti su sustavi uglavnom neadekvatni. Mogu li umjetnici arhivirati vlastiti rad ili je to infrastruktura koju bi trebale održavati institucije? Odgovore na ova pitanja probat ćemo pronaći pogledom kroz oči Umjetničke organizacije Format C koja, uz druge arhivističke inicijative, trenutno gradi arhivu za 10+ godina Fubar festivala.
Vedran Gligo (1984.) – samouki DIY haker / umjetnik / organizator / edukator. U svojoj svakodnevnoj praksi snažno primjenjuje principe slobodnog softvera i osnažuje lokalnu zajednicu održavajući besplatne i otvorene digitalne radionice u zagrebačkom hacklabu01 koji je suosnovao 2009. Kroz Format C djeluje u području slobodne kulture, promocije GNU / Linux sustava, glitch stvaralaštva, suradničke online umjetnosti velikog razmjera, nezavisne kulturne produkcije, (h)aktivizma (…). Jedan je od kustosa i osnivača Fubara – godišnjeg novomedijskog okupljanja. Član je Hrvatske udruge interdisciplinarnih umjetnika (HUIU).
Fubar je projekt Umjetničke organizacije Format C koji sufinanciraju Zaklada Kultura nova, Ministarstvo kulture i medija RH, Grad Zagreb i Goethe-Institut Kroatien. Program se provodi u suradnji s Pogonom – Zagrebačkim centrom za nezavisnu kulturu i mlade koji sufinancira Grad Zagreb te u partnerstvu s Udrugom KA-MATRIX i Multimedijalnim institutom. Festival podržava široka mreža suradnika, umjetnika i partnera iz kulturnog i medijskog sektora.
