Abstract

Curatorial discourse, especially when focusing on works of technology-reliant art, has often pinpointed the inadequate documentation of past exhibitions. This excludes non-visitors from having an integrated view over the way that the exhibits function in space and are inscribed within a wider cultural and political context. At the same time, technology itself is increasingly embedded within both exhibition practices and the creation of the works themselves, thus creating new relations between creators, curators, and the public. Recent years have seen the rise of immersive technologies in museums, fairs, and festivals whilst the use of VR headsets, smartphones and apps has come to constitute common museological practice. In this context, the creation of ‘digital doubles’, i.e. computer-generated exhibitions that exist virtually after the end of the physical exhibition, could stand as an ideal documentation tool and an all-inclusive resource. Based on theoretical research and the project outcomes of the two landmark exhibitions that serve as case studies within the framework of the Beyond Matter project (Les Immatériaux and Iconoclash), this chapter explores spatial politics, the potential offered by digital models of past exhibitions and their positioning within contemporary curatorial discourse.