Difference between revisions of "Annet Dekker"

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'''Annet Dekker''' is an independent researcher and curator. She is currently Researcher Digital Preservation at Tate, London, Visiting Lecturer & part-time Research Fellow at London South Bank University in collaboration with The Photographers' Gallery, London, tutor at [[Piet Zwart Institute]], Rotterdam, and Fellow at [[Het Nieuwe Instituut|The New Institute]], Rotterdam. She initiated aaaan.net with [[Annette Wolfsberger]] in 2009; they coordinate artists-in-residences and set up strategic and sustainable collaborations with national and international arts organisations. Previously she worked as Web curator for [[SKOR]] (Foundation for Art and Public Domain, 2010–12), was programme manager at [[Virtueel Platform]] (2008–10), and head of exhibitions, education and artists-in-residence at the [[NIMk|Netherlands Media Art Institute]] (1999–2008). Together with [[Annette Wolfsberger]], she produced ''Funware'', an international touring exhibition in 2010 and 2011 about fun in software (curated by [[Olga Goriunova]]). From 2008-2014 she wrote her Ph.D. at the Centre for Cultural Studies, Goldsmiths University, London, under the supervision of [[Matthew Fuller]]. The thesis is titled: ''[http://research.gold.ac.uk/11155/1/CCS_thesis_DekkerA2014.pdf Enabling the Future, or How to Survive FOREVER. A study of networks, processes and ambiguity in net art and the need for an expanded practice of conservation]''.  
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'''Annet Dekker''' is an independent researcher and curator. She is currently Researcher Digital Preservation at Tate, London, Visiting Lecturer & part-time Research Fellow at London South Bank University in collaboration with The Photographers' Gallery, London, tutor at [[Piet Zwart Institute]], Rotterdam, and Fellow at [[Het Nieuwe Instituut|The New Institute]], Rotterdam. She initiated aaaan.net with [[Annette Wolfsberger]] in 2009; they coordinate artists-in-residences and set up strategic and sustainable collaborations with national and international arts organisations. Previously she worked as Web curator for [[SKOR]] (Foundation for Art and Public Domain, 2010–12), was programme manager at [[Virtueel Platform]] (2008–10), and head of exhibitions, education and artists-in-residence at the [[NIMk|Netherlands Media Art Institute]] (1999–2008). Together with [[Annette Wolfsberger]], she produced ''Funware'', an international touring exhibition in 2010 and 2011 about fun in software (curated by [[Olga Goriunova]]). From 2008-2014 she wrote her Ph.D. at the Centre for Cultural Studies, Goldsmiths University, London, under the supervision of [[Matthew Fuller]]. The thesis is titled: ''Enabling the Future, or How to Survive FOREVER. A study of networks, processes and ambiguity in net art and the need for an expanded practice of conservation''.  
  
 
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Revision as of 18:25, 25 August 2016

Annet Dekker is an independent researcher and curator. She is currently Researcher Digital Preservation at Tate, London, Visiting Lecturer & part-time Research Fellow at London South Bank University in collaboration with The Photographers' Gallery, London, tutor at Piet Zwart Institute, Rotterdam, and Fellow at The New Institute, Rotterdam. She initiated aaaan.net with Annette Wolfsberger in 2009; they coordinate artists-in-residences and set up strategic and sustainable collaborations with national and international arts organisations. Previously she worked as Web curator for SKOR (Foundation for Art and Public Domain, 2010–12), was programme manager at Virtueel Platform (2008–10), and head of exhibitions, education and artists-in-residence at the Netherlands Media Art Institute (1999–2008). Together with Annette Wolfsberger, she produced Funware, an international touring exhibition in 2010 and 2011 about fun in software (curated by Olga Goriunova). From 2008-2014 she wrote her Ph.D. at the Centre for Cultural Studies, Goldsmiths University, London, under the supervision of Matthew Fuller. The thesis is titled: Enabling the Future, or How to Survive FOREVER. A study of networks, processes and ambiguity in net art and the need for an expanded practice of conservation.

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