Lívia Nolasco-Rózsás is an art historian, curator, writer and editor. She finished her studies in art history and aesthetics in 2010 at the Eötvös Loránd University Budapest, she has been curating and co-curating exhibitions at art institutions throughout Europe since 2006, fostering dialogues between different geographical locations focusing on the rapidly and constantly changing media of contemporary art and its intersections with various disciplines.
Lívia Nolasco-Rózsás curated and co-curated thematic exhibitions related to disciplines and topics such as economy (The Algorithmic Trading Freak Show at the Trafó House of Contemporary Art), architecture (Entropy of a City – Julia Stoschek Collection at the Kunsthalle Budapest), the question of perception (Synesthesia at the 2B Gallery, Školská28 Communication Space Prague, Labirynt Gallery Lublin). Besides she curated solo exhibitions for emerging and established artists like Eli Cortinas, Shilpa Gupta or Zilvinas Kempinas. She has been writing for art magazines and worked as international editor at Flash Art Hungary. From 2011 to 2013 she worked as a curator at the Kunsthalle Budapest, from 2014 she has been part of the curatorial department at ZKM Karlsruhe.
Knowledge of the Virtual – Possible Usage of Three-Dimensional Models of Exhibition Spaces in Documentation and Archiving
Visualization and digital simulation with three-dimensional models of spaces has been mostly used to imagine not yet existent, planned architectural spaces. However, the current development in spatial photographic reproduction (3D scanning) enables the digital reproduction of interiors, such as exhibition spaces, in form of perambulatory three-dimensional models. Such models could be used to document spatial positions of artworks within an exhibition, which could help their reconstruction, especially in case of complex installations. With the lately finished 3D model of the ZKM | Karlsruhe, exhibition galleries, the documentation and archiving of exhibition spaces as 3D models can be implemented. The experiments have only started, albeit it is already clear that this technology might assist the work of archivists and restorers in regard to spatial qualities of the artworks, at least medium-term.