Transformation Digital Art 2024

21/03/2024 to 22/03/2024
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Transformation Digital Art 2024 is LI-MA's annual international symposium on the preservation of digital art. This year it takes place over two days, at two different locations: Day 1 on Thursday 21 March at Nieuwe Instituut, Rotterdam and Day 2 on Friday 22 March at LI-MA, Amsterdam. Register for tickets now (more details below).

Transformation Digital Art 2024 aims to show and discuss strategies for taking care of digital art for and by artists, archivists, curators, conservators and scholars.

New technologies bring new transformations for thinking about art and creativity. They can redefine notions of authorship, performership and the construct of work. At the same time, new artistic practices in media art and changing technologies also challenge existing forms of preservation and documentation. This results in new ways of thinking about preservation and documentation towards community-based care, collaborative care and management of change. Finally, and perhaps most crucially, new technologies also create new possibilities to preserve media art.

Digital artworks depend not only on their constantly changing technological environment, but also on those who take care of their preservation. The care of digital media artworks should be widely recognised as a multi-disciplinary effort requiring the direct involvement of artists, curators, conservators, audiovisual and IT staff, registrars and all other museum staff. Yet, this joint responsibility demands ongoing cooperation, innovation and knowledge sharing.

To that end, the conference serves as a platform to engage, discuss, critically reflect, learn, and connect.

The full programme is now available. Read more about Day 1 and Day 2.


The focus of this year's edition is on Legacies. It celebrates the legacy of renowned media artists that over the years have influenced the creative discourse by questioning conventions within and beyond their disciplines, and it brings them in critical dialogue with a younger generation. 

What it means to keep digital art alive is a fundamental aspect in the exhibition REBOOT. Pioneering Digital Art, where the first part of this conference takes place. As REBOOT shows, such digital care presents numerous challenges. Firstly, it must address media artworks' highly technical and participatory nature, the continuous transformation of their manifestations, and the continuous obsolescence of formats, hardware, software and networks. It must also juggle competing demands in knowledge transfer, balancing artistic content, obsolete tools and expectations of contemporary audiences. Legacies, therefore, initiates an exchange of knowledge about digital artworks across generations and art institutions –  all the while aware of how each work and its care takes place in an infinite chain of contributions and inspirations that naturally extends and transforms through its successors. 

TDA 2024 aims to discuss ways in which media art remains present, how works are remembered and how they continue to circulate in culture. The discussion within various networks questions how media art, electronic art and digital art and culture are displayed, conserved, and passed on between Abandoned Practices.

Programme overview

Fundamental to much of the focus on Legacies is the issue of care, which Jacqueline Milner (La Trobe University, Melbourne) unpacks in terms of feminist care ethics, political theory and ethics in her opening lecture. The closing panel addresses care as community and new platforms for knowledge sharing, including Isabelle Maund and Ugo Pecoraio, Florian van Zandwijk, and Constant Dullaart. Another two sessions explore how to sustain care for two iconic large media installations: The Senster (1968–70) by Edward Ihnatowicz and Ideophone I (1970) by Dick Raaijmakers. Elsewhere, panels discuss presentation and preservation strategies for net artworks: Dragan Espenschied on emulation in exhibiting Olia Lialina’s work, Claudia Roeck and Mauricio van der Maesen de Sombreff on JODI's (1995) and Jan Robert Leegte's Scrollbar Composition (2000), and Martina Haidvogel on the participatory web-based artwork Learning To Love You More (LTLYM) (2002-09) by Harrell Fletcher and Miranda July. Elsewhere, Philippe Bettinelli (Centre Pompidou) addresses the unique challenges faced by museums acquiring NFTs. Other participants and topics can be found in the full programme for this year’s symposium.

For the full programme, read more about Day 1 and Day 2. For further updates, subscribe to our newsletter.

General information & tickets

Day 1 – Thursday 21 March
Nieuwe Instituut

Museumpark 25
3015 CB Rotterdam

Day 2 – Friday 22 March

Arie Biemondstraat 111
1054 PD Amsterdam


Symposium visitors can stay at Conscious Hotel Vondelpark, close to LI-MA, at a 15% discount. Use code LIMA24 at checkout.

More details on the programme to be announced. Keep an eye on our website, follow us on Facebook, Instagram, and LinkedIn or subscribe to our newsletter to stay up to date.

Images by Pieter Kers ( from Transformation Digital Art 2023 at LI-MA and REBOOT. Pioneering Digital Art at Nieuwe Instituut, except image [3 of 4] clip from Janilda Bartolomeu, _when_scrolling_becomes_scrying (2023), also showing at REBOOT.