May 5th - June 16th, 2024, at House of Dialouge Bussum, NL, book your visit HERE

Group Exhibition | A Light Exists In Spring

MAY 11 - 25, 2024 at Bau-Xi Vancouver, CA

Shared Memory
Çanakkale Biennial’s Memory to a Museum
at Cer Modern, Ankara, Turkey

February 25 - April 14, 2024
amongst other artists, include Ayse Erkmen, Can Demir, Katrin Korfmann, Jens Pfeifer, Nikita Alexeev, Pinar Yolaçan, Rüstem Aslan, Serge Naljar, Serhat Kiraz, Seydi Murat Koc

Art Rotterdam

January 31 – February 04, 2024, represented by Bradwolff & Partners, the Netherlands


Westergas Amsterdam
with Bradwolff & Partners, November 16-19, 2023


September 6 - November 04, 2023
Bradwolff & Partners > NEW LOCATION
Lijnbaansgracht 314 - Amsterdam

Including herman de vries, Ruta Butkute, Sjoerd Buisman, Greg Colson, Iva Gueorguieva, Eva-Fiore Kovacovsky, Katrin Korfmann, Jaehun Park and Marike Schuurman.


September 21-24, 2023. Join us for Unseen Amsterdam 2023, presenting new works at booth Bradwolff&Partners and a VIP studio visit on Friday, September 22nd, 11:00 - 12:00.

Art Toronto 2023

Represented by Bau Xi Gallery, October 26-29, 2023


Group show exhibiting works from my series Count for Nothing. 1384 DUFFERIN ST. TORONTO | September 9, 2-6 pmToronto, open daily from 10 am - 5:30 pm


March 16 - 19, 2023 Kunstkapel Amsterdam, Netherlands Group show, amongst other artists, include Joanneke Meester, Mirjam Berloth, Lisbeth Parisius, Philip Donald, Katrin Korfmann

Intersect Palm Springs

February 9 - 12, 2023 Art fair booth Kopeikin Gallery

Image Trash

Nov 2022, Read the interview about my research on Image Trash published in AD Netherlands

Publication Pf Photo

Dec 2022 - Check out the article about my work in Pf Photo Magazine, December #8 2022

Labour and Materials

C21, Kansas, US
Apr 2022 – Dec 2022
Back Stages is on view, a group show amongst others including: Katrin Korfmann, Alejandro Cartagena, Pieter Hugo, and Zanele Muholi.

Now Be Here Art Open Studio Project

Now Be Here’s Open Studio Project welcomes you into member artists’ studios, allowing them to share their artistic process with the community firsthand.


15-18 September 2022
@booth Bradwolff & Partners

Nominated Unseen Meijburg Art Commission 2022 shortlist

Unseen Meijburg Art Commission

Athens Photo Festival

June 8th - July 24, 2022, Back Stages at Photobook Exhibition, Benaki Museum, Athens, Greece

Levels of Life

London College of Communication, The Photographers’ Gallery, and The Centre for the Study of the Networked Image at London South Bank University.
Thu 30 Jun 2022 – Sat 02 Jul 2022
A trans-disciplinary conference and exhibition investigating images on the vertical axis.

Rolling Snowball 14

Group Exhibition curated by the Chinese European Art Center
Powerlong Art Center, Xiamen, China
May 2 – June 5, 2022

Art Rotterdam 2022

May 19-22, 2022
Fresh works on view represented by Bradwolff&Partners

AIR in Zuidoost # 2020/21

December 6, 2021 - February 26, 2022
BijlmAIR artist-in-residence program by CBK Zuidoost, Bradwolff Projects and Stedelijk Museum Amsterdam. 
The exhibition is showing works of former residency artists that reflect on the community of Amsterdam Zuidoost.
amongst others artists include: Boris van Berkum, Katrin Korfmann, Joanneke Meester, Andrea Stultiens.

Fault Lines

Please join our Research Group event:
Friday, December 3, 2021, 12:00-18:30
Location: West Den Haag

Aquisations 2021 Collection CBK Zuidoost Amsterdam

Exhibition: December 2 - 18, 2021
CBK Zuidoost 
Location Heesterveld, Amsterdam

Panel Discussion at Design Academy Eindhoven

I am participating -in - On Toxicity - dialogues on design at Dutch Design Week Eindhoven, 20th October 2021, 15:00-16:00, Live Stream .

Big Art

September 9 – October 3
Hembrugterrein, Projectfabriek, Middenweg 63 Zaanstad
New works in large scale


September 19 - 21, 2021
showing new works @booth
Bradwolff & Partners

Versatile Volumes – The Best Dutch Book Designs Meet Korean Artists’ Books

Juni 23 – August 19, 2021,
Backstages is on view in the KF Gallery in Seoul as part of The Best Dutch Book Designs

'The Research Question' Radio Show

July 8, 2021
Interview with Mushroom radio

Art Rotterdam

July 1 – 4, 2021
stop by and see my works @booth Bradwolff & Partners

Amsterdam Art Week

BijlmAir Alternative Residency Tour
June 19 – 26, 2021
Open Studio
Register online

The Royal Academy The Hague Graphic Design Department presents:
June 25 – 27, 2021

Artist in residece at BijlmAIR

May 17 – June 30, 2021 - Happy to share that I will be an artist in residence at BijlMAIR Amsterdam, supported by CBK Zuidoost, Bradwolff, and Stedelijk Museum Amsterdam.

Art The Hague Online

February 1 – March 31, 2021
See my works online at
Bradwolff & Partners

Royal Academy of Art, Research Group

I am currently a member of the KABK Research Group
Research Symposium Fault Lines will take place on Dec 11, 2020, online

UNSEEN at the gallery

Bradwolff & Partners Amsterdam presents
Katrin Korfmann and Roy Villevoye
October 2 - 24, 2020

Photo London Digital

October 7-18, 2020 @booth BauXi Gallery

Exciting news!

Thank you Mondriaan Fund for awarding me the Stipend for established artists.

Back Stages at Best Dutch Book Design

Stedelijk Museum Amsterdam
Exhibition 3 Oct – 1 Nov 2020

Unseen Amsterdam / CANCELLED due to COVID-19

September 19-21, 2020 booth Bradwolff&Partners

Design and the Deep Future

Lecture 10 March, 2020,
Artistic Research Convergence series organized by the Academy of Creative and Performing Arts at Leiden University.
Club Korzo in The Hague

Art Rotterdam, NL

February 6-9, 2020
Solo presentation with Bradwolff&Partners

December 8, 2019 - Lecture

@ Collectie DE.GROEN, Arnhem, NL in collaboration with We Like Art

November 10, 2019 - Publication at FD

@ Financieel Dagblad, NL

Pick Me

Group show, WeLikeArt @
Collectie De Groen, Arnhem, the Netherlands,
Sept 14 - Dec 22, 2019

Pattern Recognition

@ Bau Xi Vancouver
October 5 - 19, 2019, amongst others artists include: Chris Shepherd, Jeffrey Milstein, George Byrne

Publication Back Stages out now!

Exited to announce this new publication in collaboration with Onomatopee ORDER HERE

Big Art

12 - 15 September 2019, BigArtNu, Hembrugterrein, Netherlands

New comission for Rijnstateartcollection hospital, Arnhem, the Netherlands

will be installed in July 2019


New UNESCO 5 EURO Coin with my design will be released on June 27, 2019
commissioned by Ministry of Finance, NL

The State of Transparency

Back Stages @ Looiersgracht 60, Amsterdam
group show May 25 - June 9, 2019
artists include:
Maria Barnas, Gwenneth Boelens, Ruta Butkute, Forensic Architecture, Mio Fujimaki, Jason Hendrik Hansma, Saskia Noor van Imhoff, David Jablonowski, Katrin Korfmann, Navid Nuur, Fahrettin Örenli, Jens Pfeifer, Laura Puska, Thomas Rentmeister, Judith Roux, Mirre Yayla Seur and Beny Wagner.

Contact Photography Festival Toronto

May 01 - 31, 2019,
Back Stages at Contact Photography Festival
Bau Xi Gallery

Teylers Museum

February 01 - June 02, 2019,
Back Stages at Teylers Museum, Haarlem, NL

A Special Edition featured by We Like Art, Amsterdam
Teylers (Ghost) in collaboration with Teylers museum

Whiteconcepts, Berlin

The X show (group show)
April 4 - 28, 2019
gallery Talk on Back Stages on April 24, 2019

Art Rotterdam

7 - 10 February, 2019 @
We Like Art

Photo L.A.

@Kopeikin Gallery Los Angeles, booth #D00
January 31st - February 3rd, 2019

Los Angeles Times on Backstages

Review: Katrin Korfmann’s bird’s-eye views aren’t what they seem
Read the full article on Los Angeles Times here

Back Stages

November 10 - December 22, 2018
solo show at
Kopeikin Gallery, LA

OTIS, Los Angeles

MFA Fine Arts Lecture at Otis College of Art and Design
November 08, 2018, open to the public

WIRED article on Back Stages

Behind the Scenes at the World's Most Fascinating Workshops
Read the full article on WIRED here

International Canakkale Biennial

September 29 - February 10, 2018,
Back Stages on view at Troy Museum, within the framework of the International Cannakkale Biennial, Turkey

38 CC, group show, Delft, NL

October 28 - December 16, 2018

Labour and Materials

Jan - Nov 2018, 21C, Bentonville, US, artist include: Alejandro Cartagena, Pieter Hugo, Katrin Korfmann, Zanele Muholi, Kara Walker and others

Art Toronto

October 26 - 29, 2018,
Back Stages at booth Bau Xi Gallery, Toronto

Back Stages

August 25 - September 30, 2018,
Onomatopee, Einhoven

5 EURO Coin

just released! I designed a 5 and 10 EURO coin, commissioned by Ministry of Finance, NL

Ode aan de Bijlmer

8 Sept - 20 Oct 2018, CBK Zuidoost Amsterdam, group show, amongst others: Lard Buurman, Katrin Korfmann, Hans van Houwelingen, MOHA, Kaleb de Groot

Big Art Amsterdam

October 11 - 14, 2018
booth Art Affairs Gallery, Amsterdam


21 -23 Sept 2018, new works @ Unseen art fair Amsterdam booth Kopeikin Gallery L.A.

solo show @ Bau Xi Photo

March 3-17, 2018
Bau Xi Photo, Toronto

Volta New York

March 7-11, 2018
@Kopeikin Gallery, PIER 90, NEW YORK

Back Stages

January 27 - March 18, 2018
38CC, Delft, The Netherlands

Big Art

October 12-17, 2017
Herengracht, Amsterdam

Power of the Image

September 23 - October 7, 2017
Group show, atist include
Gerald van der Kaap, Guido van der Werve, Katrin Korfmann & Jens Pfeifer,
Marike Schuurman, Marjan Laaper, Marjan Teeuwen,
Peer Veneman, Persijn Broersen & Margit Lukacs.
Rolling Snowball, Yungang Art Museum, Datong, China

Art Toronto

October 27-30, 2017
at Bau Xi Gallery

YiPArt Photo Auction

October 7th, 2017
Young in Prison Photo Auction,

Summer Show

Art Affairs

Athens Photo Festival photobook exhibition

June 2 - July 30, 2017
Benaki Museum, Athens, Greece

Photo Basel

June 14-18, 2017
Kopeikin Gallery

Rolling Snowball/8

May 20 - June 19, 2017
Group show at Three Shadows Art Center,
Xiamen, China
artists include Jens Pfeifer, Marike Schuurman, Aernout Mik, Fahrettin Orenli, Fiona Tan, Sigurdur Gudmundsson, Yang Jian, Yang Zhifei.

Lumen Travo Gallery

March 25- April 22, 2017
Group show: artists include Jens Pfeifer, Berend Strik, Milena Naef and Ni Haifeng. Amsterdam,

AIPAD, New York

March 30 - April 2, 2017
The photography show,
@Kopeikin Gallery, Pier 94, New York

KVdL art collection

January 8 - February 16, 2017
solo show at KVdL art collection

Art Rotterdam

February 9-12, 2017
Francis Boeske Projects
Rotterdam, the Netherlands

Jimei x Arles

November 20 - December 20, 2016
Photography Festival
Three Shadows Photography Art Centre,
Xiamen, China


November 19 - 27, 2016
Capital C
& Art Affairs
Curated by Anne van der Zwaag; amongst others works by: Fernando Sánchez Castillo, Krijn de Koning,
Kristján Gudmundsson, Katrin Korfmann, Joep van Liefland
Amsterdam, NL

Art Toronto

Oktober 28-31, 2016
at Bau Xi Photo, Toronto

Unseen photo fair, Amsterdam

September 23-25, 2016
at Kopeikin Gallery

BERLINARTPROJECTS 665 km, solo show,

July 8 - August 13, 2016,
solo show,
Berlin, Germany

Amsterdam Art Fair

May 25 - 29, 2016
Art Affairs Gallery,


April 16 - May 20, 2016
Umea, Sweden, group show,


April 1 - April 30, 2016
Museum Lazienki Krolewski, Warschau, group show curated by Krystof Pastor in collaboration with VBCN Netherlands,

Aipad, New York

April 14-17, 2016
New works at Kopeikin Gallery,

Inside the White Cube

December 19, 2015 to January 30, 2016
Arena 1 gallery, Los Angeles.
Curated by Carl Berg and David
Artists include Michael Arata,
Micol Hebron, Katrin Korfmann, Kirk Miller, Maryrose Mendoza,
Cecilia Miniucchi, Lara Jo Regan, Steve Schmitt, Jeffery Valance.

Pulse Miami

December 01 - December 05, 2015
represented by Kopeikin Gallery LA

Ensembles Assembled

October 25 - November 21, 2015
Francis Boeske Projects,
Amsterdam, NL,
in association with Art Affairs

Bradwolff Projects

September 13 - November 15, 2015
solo show / new photographic installation
Bradwolff Projects Amsterdam

The Painters Eye In Photography

August 09 - October 04, 2015
Haus der Fotografie,
Burghausen, Germany
Artists include Martin Klimas, Marian Luft, Katrin Korfmann, Minyoung Paik, Gabi Blum und Hiroyuki Masuyama, Carla van de Puttelaar

Unseen Amsterdam

September 18-20, 2015
represented by Kopeikin Gallery, LA

solo show at Bau Xi Photo

October 3 -29, 2015


September 12 - October 25, 2015
group exhibition at Kunsthal Citroen, Amsterdam, NL
Artists include Koos Breukel, Popel Coumou, Marieke van Diemen, Martin Effert, Tom Janssen, Katrin Korfmann, PolakVanBekkum and many more

Currently working on:

New Photographic Installation for the visitor areas, new penitentiary Zaanstad, NL

Texas Contemporary, Houston

Oktober 1-4, 2015
represented by Kopeikin Gallery, LA

Kemper Museum of Contemporay Art, Kansas Piece by Piece

January 30 - April 26, 2015
an exhibition of works of art from the
collection of Christy and Bill Gautreaux. Artists include
Nick Cave, Kara Walker, Leonardo Drew JeffreyGibson, Michelle Grabner, Katrin Korfmann, Vik Muniz, Toyin Odutola, Angel Otero,
Ebony G. Patterson, Mickalene Thomas, and more.

The AIPAD photography show,

April 16-19, 2015
NY, represented by Kopeikin Gallery

6018 Wilshire

Sept. 20–Dec 20, 2014
Group show is on view at Edward Cella Art + Architecture, Los Angeles

Miami Project

December, 2 - 7, 2014
art fair Miami, represented by Kopeikin Gallery

I am a Mountain

October 25 - November 22, 2014
duo show with Jens Pfeifer at Gallery Lumen Travo Amsterdam,

Ensembles Assembled

September 13 - November 8th, 2014
solo show at Kopeikin Gallery Los Angeles, US

Chinese European Art Center 15 Years Anniversary Exhibition

November 11 - November 29, 2014
Xiamen, China
Amongst others works by:
Jing Jin, Katrin Korfmann,
Lotte Geeven, Marjan Laaper, Marianne Lammersen,
Nick Renshaw, Sigurður Guðmundsson, Sylvie Zijlmans & Hewald Jongenelis,
Scarlett Hooft Graafland, Wei Na.

Ensembles Assembled

October 1 – October 30, 2014, European Month of Photography Berlin: solo show at Whiteconcepts Berlin, Opening and Artist Talk: October 17, 7 pm


The book:
Ensembles Assembled
published by Onomatopee
Texts: Gregory Volk, Freek Lomme and Nanne op t’ Ende
Graphic design: Studio Adriaan Mellegers
Japanese Binding / 116 pages / 17,5 x 24 cm // 7 x 9,5 inch

Photoireland, Ensembles Assembled

August 1 -10, 2014
Book presentation and Exhibition at Photoireland /Library Project Dublin in collaboration with publisher Onomatopee

Aperture Summer Open

July 17 - August 14, 2014
group show at Aperture Foundation, New York,

Rolling Snowball/5

July 12 - Aug 15, 2014
organized by: Chinese European Art Center
Djupivogur, Iceland.
Amongst others works by:
Jung Jin, Lotte Geeven, Sigudur Gudmundsson, Sylvie Zijlmans, Scarlett Hooft Graafland, Wei Na

OTIS, Los Angeles

MFA Fine Arts Lecture at Otis College of Art and Design,
November 08, 2018, open to the public

UNSEEN at the gallery

bradwolff & partners - Katrin Korfmann, Roy Villevoye

One weekend of contemporary photography in 26 Amsterdam based galleries Presenting a program of undiscovered photography talent and unseen works by well-known photographers, over 25 galleries from Amsterdam initiated a weekend of photography.
Supported by Unseen this is a physical answer to digital fairs, all galleries can be visited on the spot throughout the city on
Friday Oct 2 – Sunday Oct 4. Opening hours: daily 12 - 18 hrs. Exhibition runs unto Nov 24, 2020

Artistic Research
Korfmann, 2019-2022

Images in Limbo: ‘Compositioning’ Photographic Debris in the ‘Climatic Regime’
Photography today is much less about a single image or a single moment of time; rather it is a continuum of networked images and moments that are continually altered and edited, processed and transformed. The context for my research project is this massive and ever-increasing amount of photographs that exist in the world. More specifically it is the massive and ever-increasing amount of photographic waste that exists in the world. It is a phenomenon that is discussed much less, and an issue that makes me doubt if I as an artist should produce any more images at all. Everyone creates image debris—the material left over, or discarded, or just not in use, during the processing of images. But as a professional photographer I am especially aware of it, since my computer hard drive regularly fills up with Terabytes of folders of images, fragments of images that don’t end up in my final compositions. What is this material that is in limbo between the state of being trash and potential raw material? I’ve come to think of them as my not-dead-yet images.

Are there alternative creative methods to reconceptualize and recontextualize The Photographic, and to experiment with my images-in-transition? I want to find out if methodologies that evolve from non-Anthropocentric ways of living such as Anna Tsing’s concept of ‘contamination-as-collaboration’ can be useful in developing artistic strategies that engage photographic image debris. For example, could I interpret ‘reciprocity’ as trying to engage with my photographic images,‘metamorphosis’ as embracing the fact that the appearance of an image can change over time, ‘collage’ as making something other out of many, and ‘impermanence’ as welcoming the fact that nothing is stable? In what ways can I, as an artist, use these methods to animate, augment, materialize and transform my digital photo debris, my ‘Zombie’ images into compost for composing post-photographic art?

I decided to work with a specific set of 467 DNG photographs left over from my project ‘Fast Fashion, Wastescapes 2021’. In my ongoing attempts to reactivate my own image debris I am experimenting with a set of variations and improvisations where I collaborate with humans and machines, I use object reconstruction software and algorithms as tools to process the waste images.

I use collage techniques as the main guideline when making and I consider failure as a possible companion. Inspired by what Heather Davis coins as ‘Queer Kin’ and her invitation to ‘Go closer to what distracts you’, I am following both, my irritation and affection for the image debris I created. Through doing so, I am starting to conceive of debris-processing as object, method and concept at the same time.

Fast Fashion, Wastescapes 2021

Extract from: Research fieldwork

A conversation, 10.09.2021, Amsterdam between Katrin Korfmann and Annet Dekker, Assistant Professor, Media Studies: Archival and Information Studies, University of Amsterdam and Visiting Professor, Centre for the Study of the Networked Image, London South Bank University.

KK: In your essay ‘Between Light and Dark Archiving’, you talk about the digital archive as an oxymoron and as a recycling center. Could you expand on these ideas.

AD: The comment I make in the article was related to something Pascal Gielen and Rudi Laermans discuss in their essay ‘The Archive of the Digital An-Archive’ (2007), and it also relates to what Wolfgang Ernst has mentioned in relation to the difference between conventional archiving and digital archiving, particularly in online environments. With all kinds of different processes happening at the same time it is hard to see the forest for the trees: there is a constant regeneration of information and an accumulation of relational links between data, as well at the bit level, which can make it more difficult to distinguish the data from the metadata. The reference to a recycling centre is based on the idea that online content is in perpetual circulation; instead of in permanent storage, as in the conventional meaning of an archive. So, while these social media platforms are often referred to as ‘archives’, it’s important to realize that it’s actually very different from how archival institutions are functioning—as places where everything is structured and standardized in specific ways and according to defined sets of ethical qualities and values.

KK: According to Joan Fontcuberta, each day 800 million images get uploaded to Snapchat, 315 million to Facebook, and 80 million to Instagram. Considering that there are currently more machines taking pictures than humans, I wonder: how do you relate to digital archives that have so much data, that experts don’t know any more how to organize and to structure them.

AD: Within the platforms you mention all kinds of processes are happening. Some algorithms make certain things visible while hiding others, or unclear connections are made between different things. This is clearly present in machine-editing software where all kinds of things are stitched together, based on whatever the algorithm considers to be appropriate for its quest. And so, it brings out certain things, and it ignores other things. That’s what I’m really interested in: how do these systems function? How come that they share certain things but not other things, and how can you retrace the bias that emerges?

KK: Exactly, and it’s impossible to understand as a consumer. I have no clue why the algorithm is showing or hiding certain photographs in the feed.

AD: Indeed, and few do. As programmer and writer Ellen Ullman mentions, usually programmers also don’t recall what they did exactly. It is a myth that a programmer knows everything. Moreover, programming is solution-oriented: there is a problem that needs to be fixed or a question that needs to be answered. Also, when something breaks, instead of going back into the code to fix it, usually more code is built around it. So, you get an accumulation of code that becomes a maze in which it is hard to retrace or recall what is done, at what moment or by whom.


KK: Big tech companies make deletion very difficult. They’re keeping all these images. We could see this also in a recent student project, ‘You Shall be Spam’ (taught in collaboration with Hannes Bernard), where students were still able to scrape images they uploaded 10, 15 years ago from apps we didn’t even know existed any more. Why do these companies want to keep all these images? Is this image capital? Do they think they can use them at some point? As a kind of fertilizer? Who is making the decision if a photograph is trash or possible humus? Nowadays, it is way more difficult to delete an image than to create it. Is deletion at all possible?

AD: It’s cheaper to save than to delete. Because the latter requires selection criteria or a set-up to delete selectively. This became an interesting challenge for the Library of Congress in the US who decided to archive Twitter and soon encountered all kinds of problems. Some of them were simple, such as problems of quantity and storage: how to store these huge amounts of data that keeps increasing exponentially? Yet it became more ethically difficult when considering what to archive: did users provide their consent to preserve their tweets? It’s one thing to consent to giving your data to Twitter, but another to have it stored for ‘eternity’. But also, how to handle the difference between private and public accounts? You may have a private Twitter account so the Library of Congress could say ‘we won't open up the private accounts’, but that still doesn't really say much, because some of your friends may have retweeted your private Tweet on their public account. So, what to do with retweets? It’s a simple example but more questions extrapolate from it. In other words, it’s the linking, the network and relations to privacy that make it difficult to start deleting individual data.


KK: I would like to talk about the growing amount of photographic images. On the one hand it's an energy-sucking problem of our age, but you can also see that all these images can create a lot of possibilities. The amount of data centers is constantly growing, especially in the Netherlands. What is your view on the unlimited photographic image in what Latour calls the ‘Climatic Regime’? And how does the hoarding, duplication and storage of images relate to energy consumption necessary to manage all the image data?

AD: Yes this is a very important topic that is often ignored. It also links to my idea of preservation and what I’ve called the paradox of digital sustainability; because the digital is not sustainable. On the one hand it’s not sustainable because there is constant change; updates are required which can lead to aesthetic, contextual or functional changes in the content. With any translation you lose something of the original. It’s also not sustainable in an organizational way because you constantly need new knowledge to update, migrate etc. Related to the lack of knowledge and thus the continuous necessity for new staff and resources, are the methods of preservation. The technical rat-race of migrating etc. comes at a high energy cost, which results in significant carbon footprints for many digital heritage projects. Basically, over time a simple website may require several additional layers of software and hardware components just to enable its original functionality. So, digital preservation presents a challenge to the ecological environment. I think it’s important to rethink what preservation, and thus (cultural) memory, actually mean when considering the unsustainability of the digital.