Digital reproductions in museums: the future?

Bonnefanten lets visitors think about the role of digital reproductions in museums. A presentation and a panel discussion will focus on the opportunities of digital reproduction techniques for museums and the public. How do these razor-sharp digital copies influence the experience of art in museums?

Ancient art in the future?

For the first time at Bonnefanten, paintings from the collection of old art can be compared with digital versions on display. The Italian company Cinello is providing two DAW® versions of old masters for Pixel Perfect?. Using the Digital Artworks technique, artworks are reproduced on a high-resolution 4k monitor in a limited edition. They have the original dimensions and an identical copy of the painting's frame. Digital reproductions are now rarely used in museums but offer opportunities for the future. They can be an alternative if a museum wants to display top artworks but avoid sky-high transport costs of the fragile works.

Pixel Perfect? is on view from 2 to 19 March.

Panel discussion – March 9

The current discussion highlighted in Pixel Perfect? will be given depth in the panel discussion on Saturday afternoon in Bonnefanten's auditorium on March 9. Multiple international experts will debate: Mario Cristiani, honorary president of Save The Artistic; James Bradburne, former director Pinacoteca di Brera and Palazzo Strozzi, Milan; Giacomo Nicolella Maschietti, journalist and art expert; Micha Leeflang, independent art historian and curator Kasteel Huis Bergh and Till-Holger Borchert, director of the Suermondt Ludwig Aachen.

Do they see problems or opportunities in digital reproductions, and which ones? What role could digital reproductions play in museums?

The discussion will be followed by a visit to the exhibition Pixel Perfect?.

Thanks to: Cinello

Note to press:
For more information and images, please contact:
Kris Németh via of +31 (0)6 27364802

Header: Pieter Brueghel the Younger (workshop), Winter Landscape with Bird Trap, 1631. Bonnefanten Collection, acquired with support from the Rembrandt Association.


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