My work focuses on the intersection of art history and theory, material culture studies, and conservation. In Spring 2016, I joined the Department of History of Art and Material Studies at the University College London. Prior to this, as Andrew W. Mellon Visiting Professor in the curricular initiative Cultures of ConservationI taught graduate seminars on conservation, art history, and museology at the Bard Graduate Center in New York.

My primary research and teaching interests lie, among others, in ethics, aesthetics, and philosophy in and of conservation, contemporary and post-war art, technology-based media, and the concepts of time, change, identity, and archive (as discourse and physical space) both in artworks and in objects of material culture. In conservation, I focus specifically on the notions of authenticity, intentionality, and conservations’ epistemic dimensions, that is, knowledge derived from, and generated by, diverse practices, theories, and cultures of conservation. I conducted this research at the Max Planck Institute for the History of Science in Berlin, where, in the Fall of 2015, I was a visiting scholar within the research group Art and Knowledge in the Premodern Europe.

_NAI8012 - Version 2I obtained my Ph.D in 2013 from the University of Amsterdam, Institute of Art History and Cultural Studies with a thesis on questions of identity, time, and change in film, video, and multimedia works of art, with a particular focus on Nam June Paik. In its revised form, this manuscript is currently in preparation for publication at the University of California Press.

In September 2015, my book Revisions-Zen for Film was published by Bard Graduate Center/The University of Chicago Press. Reviewed in Art Forum, Critical Inquiry, and Journal of Curatorial Studies, among others, Revisions-Zen for Film accompanied an eponymous exhibition at the Bard Graduate Center Gallery located on Manhattan’s Upper West Side (September 17, 2015—February 21, 2016). This exhibition focused on the ways in which artworks endure over time in the face of remediation, obsolescence, ageing materials, and changing interpretations of their meaning and was accompanied by a series of public events, Scholars’ Day, and a Symposium titled Revisions-Object, Event, Performance since the 1960s (September 21, 2015) with the participation of more than 15 international scholars in film, video, performance, museum, and conservation studies organized at the Bard Graduate Center.

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