Juan Covelli uses technology as a medium;, striving to decolonize the museum through digital practices, he releases archives from institutional control for the sake of emancipation. Covelli’s practice revolves around the technological potentials of three-dimensional scanning, modeling, and printing to readdress entrenched arguments of repatriation and colonial histories. His work investigates new materialities generated by the digital era, and focuses on the dynamics and approaches of the physical within the digital world, or the fluctuation between both. His work also explores the relationship between technology, heritage, archaeology, and digital colonialism. Using video, modelling, data sets, and coding he creates IRL and URL installation-based works which collapse historical practices with current models of display and digital aesthetics. In an on-going series of works titled Mirage, Covelli seeks to integrate aspects of research and the history of landscape, blending them with audiovisual production using some of his habitual tools (artificial intelligence, 3D capture, and modeling, as well as game development software), with the goal of making experimental video pieces that critically address the policies of technology.