Exhibtion: ARCHIVE OF INTERACTIVE ART
Vilnius (LT), 2024Co-Curation at VDA - Vilniaus dailės akademija
Archive of Interactive Art is a co-curated exhibition and research platform developed in collaboration with Vygintas Orlovas. It approaches interactive art through documentation, typologies, and audience-led navigation, treating “interaction” not as a single medium, but as a set of distinct artistic strategies.
Exhibition as a navigable archive.
The exhibition builds a shared space for collecting and composing documentation of interactive works—images, videos, interface descriptions, and contextual materials—so that pieces can be read across formats, generations, and technological conditions. Rather than simply presenting digital practice, the project asks what an interactive work does: how does interaction shape us, structure attention, and position viewers as active, dialogic agents.
One response lies in the form of access—how materials are organised, how visitors orient themselves within a “data territory,” and how exploration becomes the core experience of the show.
Strategies within interactive art
The curatorial framework draws on Ryszard W. Kluszczyński’s typology (2010), which differentiates modes of interaction without reducing them to a purely technical narrative:
- Strategy of Archives: interaction unfolds as exploration of collected resources (audio/visual data, traces, documentation), guided by maps and navigational tools.
- Strategy of Game: interaction is structured through play: rules, roles, and feedback loops, where the work evolves through the encounter itself.
- Strategy of Instrument: interaction is performative; the interface functions as an instrument for real-time production rather than browsing pre-arranged content.
- Strategy of Spectacle: a paradoxical return to staged viewing, where “the event” becomes central and interaction is framed as spectacle.
Curatorial contribution.
As co-curator, Timothy Nouzak contributed to shaping the exhibition’s structure and its modes of access: how works are contextualised, how documentation becomes readable as an interface of understanding, and how audiences navigate between artworks, materials, and concepts. The project treats participation not as secondary material, but as a curatorial method—an socially-engaged tool for comparison, cross-reading, and shared interpretation.
Platform logic: documentation as interface.
Viewers move through the archive via tags, categories, and conceptual groupings—producing their own pathways through the collection. In this sense, navigation becomes a form of interpretation: a distributed way of composing meaning across works, contexts, and strategies of interaction.
As co-curator, Timothy Nouzak contributed to shaping the exhibition’s structure and its modes of access: how works are contextualised, how documentation becomes readable as an interface of understanding, and how audiences navigate between artworks, materials, and concepts. The project treats participation not as secondary material, but as a curatorial method—an socially-engaged tool for comparison, cross-reading, and shared interpretation.
Platform logic: documentation as interface.
Viewers move through the archive via tags, categories, and conceptual groupings—producing their own pathways through the collection. In this sense, navigation becomes a form of interpretation: a distributed way of composing meaning across works, contexts, and strategies of interaction.
Initiator & funding: Initiated by Vygintas Orlovas as part of the postdoctoral project “Exploring strategies of interactive art and active participation. A practice-based approach to map audience engagement” (Nr. S-PD-22-29), funded by the Research Council of Lithuania.
Support: Vilnius Academy of Arts + Erasmus Mobility Programme.
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Support: Vilnius Academy of Arts + Erasmus Mobility Programme.
